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How the restructure of Diamond Sports, with lifeline from Amazon, might offer new model for on air local sports fixtures that stream in this digital era

—  A lifeline to the bankrupt Diamond Sports Group might offer a new model for airing local fixtures in the streaming era

 

Financial Times:

 

Diamond Sports Group, a consortium of a few dozen regional sports networks scattered across the U.S., was valued at $11bn as recently as 2019.

 

By the end of last year, however, it was in bankruptcy and near ready to liquidate. What then ensued could be described, in baseball terms, as a bottom-of- the-ninth-inning rally. In a surprise move in January, Amazon agreed to pump in $115mn in cash into Diamond, an infusion that is the centrepiece of a newly-crafted, intricate restructuring plan.

 

If approved by a bankruptcy court in the coming weeks, the deal will allow the broadcaster to continue airing basketball, hockey and baseball fixtures across American cities. The Diamond saga is more than just a run-of-the-mill corporate restructuring. The case has become a proxy war for the future of live sports and television broadcasts in the U.S., as leagues and distributors debate the proposition of when, or even if, live fixtures migrate entirely away from linear television and on to digital streaming platforms.

 

The number of subscribers to cable and satellite pay-TV packages in the US has dipped from about 100mn a decade ago to roughly 60mn today. Diamond’s portfolio of live sports is accessed almost exclusively through cable television packages and its subscriber count has fallen by almost a quarter since it was acquired by Sinclair Broadcast Group from Fox just before the pandemic, near the high-water mark of the pay-TV market. “Sports leagues have to figure out the right pricing models to watch their games,” said longtime media analyst and consultant Brian Wieser.

 

“The risk of getting that wrong is turning into a niche sport like boxing, which decided its best fights would only be on pay-per-view.”

 

At the time of its bankruptcy filing last year, 40 clubs across three major professional sports leagues — Major League Baseball, the National Basketball Association, and the National Hockey League — had contracts with Diamond to air local fixtures.

 

The regional sports network is a quirk of U.S. broadcasting, given the nation’s size and span across four time zones in the contiguous 48 states alone. With multiple MLB, NBA and NHL matches airing simultaneously each night, a cable subscriber in Kansas City wants access to a different 7pm game than a subscriber in Milwaukee. The strongest and largest media markets in the U.S., including in New York, Boston, and Los Angeles, have successful standalone regional sports networks supported by millions of local subscribers.

 

By contrast, Diamond Sports Group consolidated dozens of regional networks in midsize markets from Texas to Florida to Arizona. But the continuing shift from linear broadcast and pay television to digital streaming had shattered Diamond’s business model, which depended on elevated levels of pay-TV subscribers.

 

In the run-up to its 2023 bankruptcy filing, Diamond halted some contractual payments it owed to many of those teams, leaving leagues and club owners scrambling to find emergency broadcasting options, in some cases in the middle of their seasons.  Some, such as the NBA’s Phoenix Suns, yanked their fixtures off Diamond-owned Bally Sports and put the games on free-to-air television. The MLB also took the opportunity to test out something new: pulling the local rights of the Arizona Diamondbacks and San Diego Padres away from the individual clubs and into its own control.

 

Diamond’s creditors, who collectively held $8.9bn debt, were, at the nadir, probably set to recover only a few nickels on the dollar. At one point, the sides had even favoured a “wind-down” plan where Diamond would collect fees for the final 2023-2024 sports season, pay out the meagre proceeds to stakeholders and then cease operations for good. In that scenario, Major League Baseball could then have had the opportunity to centralise individual franchise streaming rights for clubs that had been contracted to Diamond into a league-controlled bundle.

 

MLB declined to comment. Diamond’s bankruptcy advisers approached Amazon as they were exploring their options last year, according to a person familiar with the matter. Diamond bondholders such as Prudential and Hein Park Capital were also scrambling to assemble a go-forward plan that could save their investment. The tech giant saw a strategic opportunity to capture more of the US live sports market, for which it currently has a hodgepodge of rights ranging from Thursday night National Football League games to an assortment of U.S. professional women’s soccer and basketball. Media and technology observers believe Amazon’s sports push has two motivations.

 

First, by adding another plank to its Prime service, it can create more loyalty among customers who are charged nearly $200 a year for free package deliveries as well as streaming video. Second, Amazon in recent years has become a digital advertising powerhouse and the addition of streaming hundreds of games would provide even more inventory to pitch marketers. Amazon declined to comment.

 

By mid-January, Diamond had surprised Wall Street and the sports world by announcing it had struck a deal with a majority of its creditors to stand up a reorganised company. As a part of the deal, Amazon would buy a $115mn convertible note that could swap into 15 per cent of the equity of the new Diamond as well as a separate option to put in another $50mn of equity at a $500mn equity valuation.

 

In addition to the Amazon investment, junior creditors are providing $450mn of bankruptcy process and exit financing that will give them the bulk of the ownership of new Diamond. Sinclair has also agreed to pay Diamond $495mn to settle claims that the parent had siphoned billions in fees and dividends from the subsidiary.

 

Recommended LexStreaming services Disney, Fox and Warner sports streaming platform foreshadows consolidation Premium content However, much of the cash infusion is already spoken for in repayments to senior creditors and money owed to teams. It is also unclear how much critical mass Amazon can really accumulate as Diamond only has the streaming rights for five baseball teams. Diamond will publish its targeted valuation as a reorganised company in the coming weeks.

 

In January, projections disclosed in the Amazon negotiations showed that Diamond expected its linear revenue to fall from $2.5bn to $1.8bn between 2023 and 2026. Streaming revenue, however, is to jump from $50mn to nearly $700mn over that period. These projections may be revised in April to account for any new deals struck.

 

Sports teams will have their respective linear TV agreements with Diamond while five of those baseball teams, as well all Diamond’s more than 25 NBA and NHL franchises, have given the network its streaming rights. This Diamond direct-to-consumer content will be distributed via Amazon Prime. The reorganised Diamond is expected to be valued at about $1bn based on previous debt trading levels and guidance from people close to the deal.

 

For Amazon, the modest investment could, if successful, set a new standard for distributing streaming sport content. One person involved in the Amazon negotiations for Diamond described the deal with the Seattle-based behemoth using a sports analogy: Diamond was like a player with an expiring contract acquired at the midseason trade deadline.

 

If there were long-term synergies, a longer arrangement could be later struck, leaving the interim period as like a trial period. “This way they get to see if there is a cultural fit,” said this adviser. “Amazon loves live sports. The deal puts them in position to be the provider down the road.”

 

 

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— Techmeme

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Some TikTok fans in India still question its gov’t 2020 decision to ban the app, not satisfied with others like YouTube Shorts and Instagram Reels due to lack of similar allure 

—  Young adults in India who came of age on the app are still angry at their government 

 

Wall Street Journal:

 

—  NEW DELHI — Gayatari Mohanty always wanted to be a dancer.

 

But her father, who washes cars for a living, and her mother, a domestic helper, didn’t have enough money for lessons. So the 19-year-old New Delhi native taught herself.

— PHOTO: T. Narayan/BLOOMBERG NEWS Artists at a pop-up studio for collaborating creators and artists inside Meta’s offices in Gurugram, India, in 2022.

One day in 2019, Mohanty discovered TikTok. She and a friend were drawn to the platform’s lighthearted videos. They often rushed home from school to upload clips of Mohanty’s spirited dancing to retro Bollywood songs from the 1960s and 70s.

Soon Mohanty had gained some 5,000 followers. That didn’t make her a star or earn her any money, but it was enough to boost her confidence.

“My skill gave me my biggest achievement in life,” she said. “TikTok became my stage where I could show my dancing skills and get appreciated for it.”

That all ended suddenly the next year, when India’s government banned the Chinese short video-sharing titan, citing cybersecurity concerns.

“It felt like a personal loss, like someone close to me was no more,” she said.

The South Asian nation provides a case study in what happens when the wildly popular service goes away, as it might in the U.S. A bipartisan bill that sailed through the House this month would force parent company ByteDance to sell the platform’s U.S. operations or face a ban. President Biden has said he supports such legislation, which will now go to the Senate, where its fate is uncertain.

— PHOTO: Dhiraj Singh/BLOOMBERG NEWS Some TikTok fans in India say rival domestic services aren’t as appealing.

ByteDance was founded in Beijing, and some worry that Chinese authorities could compel the company to turn over TikTok data on American users. TikTok has said it hasn’t received any such requests and wouldn’t comply if it did.

ByteDance didn’t respond to queries about its ban in India or a potential ban in the U.S.

Some TikTok fans in India question the decision to kick out the social-media app. New Delhi undertook the move because it feared the Chinese-owned app, along with others such as messaging app

WeChat, could be used to harm India’s defenses, a senior government official said at the time. The move came after a border clash between troops from the two countries left 20 Indian soldiers dead.

 

Mohanty was one of around 150 million people who used the app every month in India then, according to market-intelligence firm Sensor Tower. It was TikTok’s largest market by users at the time.

Today, some of the platform’s fans in the South Asian country still mourn its absence. They say rival Indian services that sprung up in TikTok’s wake aren’t as appealing. While new short-video offerings from YouTube and Instagram have offered alternatives, some feel they lack TikTok’s allure. And some fans are still angry at the government for booting out TikTok.

Mohanty didn’t use any other social-media platforms beyond TikTok at the time of its ban. After a year without the service, she tried a local TikTok clone, called Moj, which launched the month after TikTok was ousted. But she says it proved harder to use, and uploading videos was more difficult.

“We feel a little lost since the ban” four years ago, said her friend, 18-year-old Moni Sharma. “We have been struggling to adjust to alternate apps.” Sharma has accounts on YouTube and Instagram, but says that it is harder to lip sync to songs on those platforms and that they have gained fewer followers there.

“It’s likely that U.S. users will follow in India’s footsteps should TikTok be banned,” flocking to short-video equivalents from YouTube and Instagram, said Jasmine Enberg, a principal analyst at Insider Intelligence.

— PHOTO: Sunil Kataria/REUTERS Residents of an Indian village film a scene in 2022 for a social drama for their YouTube channel.
   

Americans are more likely to already use YouTube today than they are to use Instagram, so Instagram could see additional adoption because it has more room to grow, said Simon Kemp, founder of digital consulting firm Kepios.

Today, Moj and another local TikTok-like app, Josh, now have a combined 641 million downloads in India, according to Sensor Tower. Monthly active users for Instagram have risen 91% to 511 million since TikTok’s ban, while YouTube’s are up 55% to 653 million.

The ban has sparked questions over free speech similar to those being raised in the U.S. now.

“India is a free and democratic country and authorities can’t just force decisions and restrict freedom of speech and expression just because you have political disagreements with another country,” said 18-year-old Noushad Ali, who used to make TikTok videos about teenage romance.

“Why did the Indian government ban it?” asked Ritik Tannk, a former TikTok creator who made comedy videos, one of which garnered 16 million views. “Our data gets passed on through other apps also, like Facebook and YouTube. Why ban just TikTok for data privacy?”

India’s Ministry of Electronics and Information Technology didn’t respond to a request for comment.

Some former TikTok users have moved on. Twenty-year-old Shivam, who goes by one name, never had an account on TikTok, but he used to spend at least four hours a day watching comedy videos on the service.

He and his friends would hardly socialize with classmates who weren’t into the app, he said. “It felt cool to be talking about TikTok—what you had watched or who was the most popular,” he said. “In a way you can say it was also under peer influence that I wanted to be connected to TikTok.”

 
 — Ritik Tannk, a former TikTok creator who made popular comedy videos, says he doesn’t understand why TikTok was banned in India. Ramesh Gupta, seen pouring tea at his New Delhi snack shop, once did a brisk business selling food and drinks to TikTok fans making videos nearby, but sales have fallen since the ban. (L) Ritik Tannk, (R) Ramesh Gupta

 

Now Shivam watches YouTube Shorts, Instagram Reels and videos on Moj. In retrospect, he says, TikTok was mostly just a reason to hang out with friends.

One of Shivam’s friends, 19 year-old Satyam Sinha, had a TikTok account but only amassed a couple of hundred subscribers. He made silly videos, eating burgers in a funny way or mimicking dialogue from a Hindi-language movie.

“I felt like I was being given some sort of recognition by unknown people,” he said. “It made me feel good about myself.”

When TikTok was banned, he mourned the loss for a few months, but quickly moved to other services like Reels and Moj. “We can’t keep crying all our lives,” he said.

TikTok’s absence in India is felt by local vendors working in New Delhi’s Connaught Place, a shopping district where crowds of creators once gathered to shoot their videos.

Ramesh Gupta runs a snack shop in the area. His sales have fallen about 20% since the TikTok ban, he said. He enjoyed watching young men and women with colorful hair and shiny sunglasses dance and sing, and liked serving them meals when they rested between shots.

“They would break for lunch and have tea and snacks like noodles, samosas and cutlets at my shop,” he said.

“Those days are gone now.”

 

 

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Mercer County Human Services wins grant to improve county service access for the hearing impaired

MERCER COUNTY — The Mercer County Office of Aging has been awarded the Open Communication Access grant from the State of New Jersey.

The Open Communication Access Grant will be used to fund the installation of hearing induction loops in public spaces. These spaces will include: The Mercer County Board of Social Services, The Mercer County Office of Aging, The County Connection, and The Mercer County Administration Building. In addition, two pilots will be conducted at the Library and the County Commissioner Hearing room.

Hearing induction loops allow people with hearing loss to easily participate in public spaces, simply by turning on the ‘t-coil’ switch on their hearing aids and cochlear implants. The larger spaces will have this technology hardwired, while smaller spaces will have portable kits as needed.

Upon receiving funding, a competitive RFP will be issued and a vendor will be secured. We expect the implementation to be completed by July 2024.

“As a legislator, I always championed accessibility initiatives,” said Mercer Executive Dan Benson, “I am proud of our staff here in Mercer County for securing this competitive grant to ensure we can provide quality services to as many residents as possible.”

“The Open Communication Access grant provides a wonderful opportunity to help us expand services to the hearing-impaired community,” said Deputy Administrator Taraun Tice McKnight “We are constantly looking for state and federal programs that will allow us to fund similar initiatives that expand services for Mercer County residents.”

For additional information, please reach out to Theo Siggelakis at TSiggelakis@Mercercounty.org

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The AACCNJ recently announces its participation in NJ Disparity Study Presentation & Panel Discussion at NJIT

TRENTON, N.J. — The African American Chamber of Commerce of New Jersey (AACCNJ) announced its participation in NJ Disparity Study Presentation & Panel Discussion, on Saturday, March 9 from 10 a.m. to 2 p.m. at the NJ Institute of Technology, in Newark, N.J.

 

Lawrence Crump, Councilman at Large, City of Newark, convened the panel discussion to ensure the information from the State’s recently released Disparity Study, was made available to the public at large.

 

The presentation on the Disparity Study, conducted by Mason Tillman Associates, was led by Dr. Denise Anderson, Founder & CEO, Denise Anderson & Associates (DA&A) LLC, and moderated by John E. Harmon, Sr., IOM, Founder, President & CEO, AACCNJ.

 

Panelists included:

The Honorable Ras Baraka, Mayor City of Newark, N.J.

Luis De La Hoz, First Vice President, RD, Community Lending N.J. at Valley Bank

Ryan Haygood, Esq., President & Chief Executive Officer, N.J. Institute for Social Justice

Marjorie Perry, President & CEO, MZM Construction

The Honorable Shavonda Sumter, Assemblywoman, 35th Legislative District

 

The event took place at the Central King Building, Agile Strategy Lab (L-70) at NJIT, 100 Summit Street, Newark, N.J., and was streamed on Councilman Crump’s Facebook page Larry Crump and on YouTube OOTCC, for those who were unable to attend in person.

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Brands ride the wave of video ads to revolutionize growth

In the digital age, it is crucial to optimize short-form video content for mobile, where 75% of people prefer viewing it.

 

Platforms like YouTube, TikTok, and Facebook have made mobile videos accessible and engaging, emphasizing the need for brands to prioritize mobile-friendly formats.

 

“This paradigm shift toward video marketing strategies underscores a fundamental transformation in how brands connect with their audience,” explains Derek Chew, CEO of Fullmoon Digital. “In today’s dynamic landscape, passive advertising falls short; consumers now actively seek interactive and compelling content that resonates on a deeper level.”

 

These strategies reflect a growing trend in digital marketing strategies for businesses – the importance of authenticity and transparency. They help brands boost visibility and build consumer loyalty, leading to sustained revenue growth.

 

“Through dynamic video ads, brands can craft immersive experiences that go beyond simply capturing the attention of consumers,” concludes Chew.

 

Derek Chew is an expert on how video ads can boost brand visibility, enhance consumer loyalty, and drive business growth, positioning businesses to effectively tackle the challenges of the digital marketing landscape.

 

About Fullmoon Digital

Fullmoon Digital Media, founded by Derek Chew, a former early Yahoo! employee, is one of the few 100% independent digital marketing agencies in the United States. The firm is cross-functional, with deep experience in media planning and buying, digital consultancy, SEO, digital strategy, programmatic, analytics, performance marketing, paid media, social advertising, and creative. They push the envelope of what is possible in terms of marketing and technology, all the while providing best-in-class digital marketing service to their “pack” of clients. For more information, please visit www.fullmoondigital.com

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Will Keenan, former digital exec at Endemol Shine, joins talent-focused startup Coy Creator as chief revenue officer

Will Keenan has returned to the entertainment industry, joining Coy Creator, a startup touting a full-service “business-in-a-box” platform for digital creators, as chief revenue officer.

 

Keenan had joined Endemol Shine North America in 2013, where he launched the company’s Endemol Beyond division. While there, Keenan cultivated a talent and creator roster that included global music star Pitbull, online lifestyle guru Michelle Phan, musician and comedian Andy Milonakis, viral sensation Brittany Furlan and rock icon Courtney Love.

 

Keenan exited Endemol Shine in 2015 and took a sabbatical from the industry to start a not-for-profit in New Jersey, private religious facility St. Babs Grande Retreat, and raise his first child. Prior to joining Endemol in November 2013, Keenan was VP of vertical development and programming at Maker Studios (which was acquired by Disney), where he signed, launched and developed YouTube channels for the likes of Margaret Cho, James Gunn and Adrian Grenier.

 

Matt Silk, COY Creator’s CEO, said Keenan will lead the company’s overall business, strategic partnerships and talent relations efforts. According to Silk, COY Creator is officially launching its new platform this month with Keenan’s arrival and after a beta-development phase. The company says the platform allows talent to host exclusive content experience on their own URL with “no brand competition, 100% data ownership and complete control of their fan engagement.” (“COY” stands for “Capitalize on You.”)

 

“I can’t wait to work side-by-side with Will as we help launch the businesses of some of the top creators and talent in the world,” Silk said in a statement. “I don’t think we could write a job requirements list as good as his background is for our company. Our mission is to help creators set themselves up for long-term success and now we have the right person to help us accomplish just that.”

 

To date, Keenan and Silk have signed actor Caylee Cowan (“Divinity,” “Willy’s Wonderland”), Bollywood singer-actor Shweta Pandit, and YouTube prankster Ed Bassmaster. Keenan is currently in final negotiations with actor-comedian King Bach (who has more than 100 million social followers) and for COY Creator to power Ultrafree, a clothing brand started by Drea de Matteo (“The Sopranos”) and her partner, musician-artist Robby Staebler (UVWAYS).

 

Keenan commented, “COY Creator is the perfect place at the perfect time for me to make a return to the entertainment industry. For a while now, I’ve been perplexed at why no person, company or startup had established itself to be creator-first, to provide the obvious features and services that talent has been telling me for years they want the most. What Matt and his team have developed at COY Creator is exactly what is missing from this space or as our colleague Drea de Matteo recently said, ‘COY Creator’s business model is the future of Hollywood.’”

 

Added Keenan, “COY Creator is focused exclusively on ‘B2B2C’ (business-to-business-to-creator) rather than the company focusing on building out its own brand. We are truly going to give star talent the power to engage their fans like never before possible.”

 

Keenan started his career starring in and producing indie films including “Tromeo & Juliet” (co-written by James Gunn, now co-head of DC Studios); “Terror Firmer”; and “Good Machine’s Love God” (the producing debut of Anthony Bregman). He produced Bollywood films in the late 2000s and segued into the digital space as an executive in 2011. A documentary focused on Keenan’s life and career, “Do You Know Who I Think I Am?”, has been in production over the past year and will be released by Red Cup Films with director Brian Wild and producer Scott Boyle.

 

 

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— Variety

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Apple reaches a $490M settlement to resolve a class-action lawsuit that alleged Tim Cook defrauded shareholders in 2019 by hiding falling iPhone demand in China

Jonathan Stempel / Reuters:

 

 

—  Apple (AAPL.O) has reached a $490 million settlement to resolve a class-action lawsuit that alleged Chief Executive Tim Cook defrauded shareholders by concealing falling demand for iPhones in China.

A preliminary settlement was filed on Friday with the U.S. District Court in Oakland, California, and requires approval by U.S. District Judge Yvonne Gonzalez Rogers.
It stemmed from Apple’s unexpected announcement on Jan. 2, 2019 that the iPhone maker would slash its quarterly revenue forecast by up to $9 billion, blaming U.S.-China trade tensions.

 

Cook had told investors on an Nov. 1, 2018, analyst call that although Apple faced sales pressure in markets such as Brazil, India, Russia and Turkey, where currencies had weakened, “I would not put China in that category.”
Apple told suppliers a few days later to curb production.
The lowered revenue forecast was Apple’s first since the iPhone’s launch in 2007. Shares of Apple fell 10% the next day, wiping out $74 billion of market value.
Apple and its lawyers did not immediately respond to requests for comment on the ruling.
The Cupertino, California-based company denied liability, but settled to avoid the cost and distraction of litigation, court papers show.
Shawn Williams, a partner at Robbins Geller Rudman & Dowd representing the shareholders, called the settlement an “outstanding result” for the class.
The settlement covers investors who bought Apple shares in the two months between Cook’s comments and the revenue forecast.
Apple posted $97 billion of net income in its latest fiscal year, and its payout equals a little under two days of profit.
Last June, Rogers refused to dismiss the lawsuit.
She found it plausible to believe Cook had been discussing Apple’s sales outlook and not currency changes, and said Apple knew China’s economy was slowing and demand could fall.
The lead plaintiff is the Norfolk County Council as Administering Authority of the Norfolk Pension Fund, located in Norwich, England.

 

Lawyers for the shareholders may seek fees of up to 25% of the settlement amount.
Apple’s share price has more than quadrupled since January 2019, giving the company a more than $2.6 trillion market value.
The case is In re Apple Inc Securities Litigation, U.S. District Court, Northern District of California, No. 19-02033.

 

 

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HAF: Josh Kim sings Korean American ballad in ‘Camellia Girl’ project

Korean American writer and director Josh Kim journeys to the Hong Kong — Asia Film Financing Forum with “Camellia Girl,” which is in development.

 

His track record notably includes Thailand’s 2015 Oscar entry “How to Win at Checkers (Every Time),” the HBO Asia horror-drama series “Forbidden” and a body of shorts for Apple, Google, NPR and the Wall Street Journal.

 

The story is about two Korean American sisters who return home for their father’s funeral in rural Texas. The older sister leads a successful and stable life. The younger one, however, was addicted to drugs, dropped out of college and has built up debt trying to realize a dream of becoming a singer. When the two sisters arrive home, they learn that their father has left a rare antique fan worth more than a half a million dollars “to the child who finds it first.” This starts a scramble that will forever change the lives of the sisters.

 

“’Camellia Girl’ is a project I started writing after my father passed away. My mom has Alzheimer’s and he was taking care of her. So, after my father passed, I have been spending a lot more time at home in Texas with my mother,” Kim said.

 

“The title comes from a song the main character sings in the movie. It’s her father’s favorite song. It also happened to be my father’s favorite tune. It’s an old Korean trot song [a Korean music genre] that evokes a sense of yearning and loss. If you ask people in Korea what this loss is, everyone has a different answer. Some say it’s a lover who found a new life. For others, it’s a longing for a time when everything still seemed possible. This is the inspiration of ‘Camellia Girl,’ a story about sibling bonds, second chances and caretaking for the ones we love.”

 

Kim is looking to complete a $2.3 million budget at HAF and attach co-producers and a sales agent. The film is produced by Douglas Seok through Sea Oak Studios. Seok is a producer and cinematographer who was previously involved in the breakout Cambodian indie film “White Building” and a trio of films by Lee Isaac Chung, including Chung’s Oscar-winning “Minari.” He is also working on Chung’s upcoming “Twisters,” for Universal Studios.

 

“It’s been almost 10 years since I made ‘How to Win at Checkers.’ I went to China after that to work on ‘Folding Beijing,’ but with censorship restrictions and the country closing down with COVID, it became a project I realized was untenable for me to stay on and direct. So, we let [studio] Wanda look for a new director for the Chinese-language version. Films are hard to make. If realized, ‘Camellia Girl’ would be my second movie,” says Kim.

 

 

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— Variety

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RevenueCat survey nearly 30K mobile subscription apps, finds that only 17.2% of them to reach $1K in monthly revenue and only 3.5% will get to $10K  

Investors know that most startups fail, but something that may be less understood is how few mobile apps actually make money.

 

Sarah Perez / TechCrunch:

 

 

—  According to a new analysis of the subscription app economy from mobile subscription toolkit provider RevenueCat, the top 5% of apps generate 200 times the revenue of the bottom quartile after their first year, while the median monthly revenue an app generates after 12 months is less than $50 USD.

— Image Credits: TechCrunch

 

The “State of Subscription Apps” report offers a bird’s-eye view into the subscription app universe, as RevenueCat has nearly 30,000 apps using its platform’s tools to manage their monetization. Outside of Apple and Google, that makes RevenueCat the largest collection of subscription app developers on one platform.

 

This report specifically looks at data from over 29,000 apps and over 18,000 developers who collectively generate over $6.7 billion in tracked revenue and have over 290 million subscribers.

 

After crunching its data, the company found that only 17.2% of apps will reach even $1,000 in monthly revenue, but after they hit that point, the odds of them growing further increase. For instance, 59% of the apps that reach $1,000 will go on to reach $2,500 and 60% of the apps that reach $2,500 will make it to $5,000. But what may be more surprising is that only 3.5% of apps will reach $10,000 in revenue — the figure that an indie developer may need to hit in order to devote themselves full-time to app development or their mobile-first startup.

 

There are some differences in apps’ success when you narrow things to the category level, however.

 

Health and fitness apps generate more revenue after a year, performing at least twice as well as all the other categories combined, both at the bottom quartile and in the top 5%. Travel and productivity apps struggle the most, with even the top 5% of apps in the category making less than $1,000 per month after a year’s time on the app stores.

 

While it’s perhaps not as surprising that many apps don’t make money, given how many are launched as side projects, seeing the actual monetization figures could be a shock to those who think they have what it takes to beat the odds.

 

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Digital Marilyn, an interactive AI avatar of Marilyn Monroe, recently unveils at SXSW 

Digital Marilyn Monroe was created using GPT-3.5 by Soul Machines and Authentic Brands Group

 

Bruce Haring / Deadline:

 

 

—  One of Marilyn Monroe’s most famous quotes was, “I don’t mind living in a man’s world as long as I can be a woman in it.”

 

— Soul Machines Unveil Groundbreaking Digital Marilyn Monroe at SXSW 2024Soul Machines        

Now, there has to be an amendment to that line. More than 60 years after her death, there’s now a Digital Marilyn, created with artificial intelligence and capable of answering questions in her voice and style. The new version of Monroe debuted Friday at the South by Southwest tech conference in Austin, Texas.

 

The Digital Marilyn is a partnership between Soul Machines, which creates what it calls Biological AI-powered Digital People, and Authentic Brands Group, a company representing such icons as Monroe, Elvis Presley, Muhammad Ali, Shaquille O’Neal, David Beckham, and many other celebrities and companies.

 

The Digital Marilyn can interact in real-time using advanced natural language processing, deep learning, and Open AI’s ChatGPT 3.5. What that means is another step forward in extending the ability to monetize celebrities even after their death.

 

“This collaboration exemplifies the transformative power of AI in connecting brands and consumers,” said Greg Cross, CEO and co-founder of Soul Machines. “Digital Marilyn showcases our Biological AI, bringing an iconic personality to life through engaging dialogues and emotional intelligence. It’s more than nostalgia. It’s a glimpse into the future of immersive interactions.”

 

The Digital Marilyn mimics human traits in a realistic fashion, and can interact with users on a personal level. The partnership claims the average conversation length with a Soul Machines Digital Person is 20 minutes, with the character allegedly adapting to your questions and interests.

 

“Marilyn Monroe remains a timeless icon, inspiring generations with her talent, charisma, and enduring legacy,” said Dana Carpenter, EVP Entertainment at Authentic Brands Group.

 

“We are thrilled to partner with Soul Machines, whose cutting-edge technology is the perfect match to bring Marilyn to life in the AI age. While Marilyn Monroe can never be replaced or duplicated, Digital Marilyn opens exciting possibilities for multiple generations of fans to engage with her in a whole new way, fostering a deeper connection and appreciation for her enduring spirit and the mark she left on the world.”

 

 

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— Techmeme