Max Monclair

AT&T, owner of DirecTV, signals full shift to Internet TV

“We’ve launched our last satellite,” John Donovan, CEO of AT&T Communications, said during a presentation to analysts.

This statement signals an expected shift in AT&T’s broadcasting strategy away from traditional cable and satellite delivery. Over the last 5 years, Over The Top live video streaming services, like AT&T’s DirecTV Now and Dish Network’s Sling TV, have picked up a growing segment of the viewing market that has been abandoning direct broadcast. According to a March, 2018, report by the Video Advertising Bureau, streaming-only audiences, which account for OTT viewers and streaming on-demand providers like Hulu and Netflix, tripled since 2013, when they began tracking the cord-cutting trend, to 14.1 million homes. While this still accounts for only 11% of viewing households, and a small segment of the overall industry landscape, where viewers subscribe to a combination of traditional and streaming services, the precipitous rise of those leaving cable and DBS has raised concerns for broadcasters and advertisers who have relied on this delivery model for over 7 decades.

For its part, AT&T’s acquisition of DirecTV had less to do with gaining dominance in the DBS market and more to do with its push to dominate both broadcasting content and distribution. According to Chris Wagner, managing partner at the consulting firm OTT Advisors, the real prize in the deal was assets like DirecTV’s NFL Sunday Ticket. However it is questionable whether DirecTV’s programming assets are worth the investment, given the falling numbers of subscribers, which create challenges for AT&T in its effort to recoup its investment. As pointed out in the blog Awful Announcing, the $1.5 billion per year contract AT&T has with the NFL requires a subscription pool that can sustain the $300+/season price tag through the end of 2022. While DirecTV has not officially released its subscriber numbers for NFL Sunday Ticket, AA reported a rumored 2 million subscribers. Forbes reported a similar number at the time the current contract was signed in 2014, raising questions about the value of this service for revenue or for retention.

While this is just one example, it points to a serious vulnerability in DBS’s programming assets. In the case of DirecTV’s NFL offerings, which have given it a market advantage to its rival Dish Network, AT&T faces competition from, of all sources, its partner, the NFL. The NFL now offers a competitive package directly to viewers for $49.99 per season with NFL Game Pass, threatening to cannibalize its NFL Sunday Ticket deal with DirecTV. However, AT&T seems to have seen the handwriting on the wall with such content deals, forcing a hard bargain with DirecTV’s sole competitor in the DBS market, Dish Network. The current contract impasse, resulted in the removal of HBO and Cinemax channels from Dish and its OTT service Sling TV. The stage for this was set not only in last summer’s contentious $47 billion AT&T-Time Warner merger, but in the meteoric rise of HBO’s own OTT service, HBO Now. Launching in December, 2015 with an estimated 800 thousand subscribers, by February, 2018, HBO Now reached the 5 million mark. While a small fraction of HBO’s 149 million subscribers worldwide, the rapid rise of its OTT service has given AT&T-Time Warner as view of what’s possible in the emerging cord-cutting viewership market.

The shift in the broadcasting model has given traditional providers reason to pause. “In 2008, about 95 percent of total entertainment consumption was coming through linear broadcast constructs,” said John Stankey, CEO of AT&T’s Time Warner Media division. “Today, it’s about 55 percent. … It is really important that we position ourselves from a technical perspective to accommodate that.”

Denver Comic Con Announces New Name, 2019 Dates

Denver Pop Culture Con 2019

Pop Culture Classroom, the organization behind Denver’s premiere annual event for fans of comics, movies, TV and other media, has announced ticket sales are now open for the convention formerly known as Denver Comic Con. This year, the convention, now in its 8th year, will be called Denver Pop Culture Con.

In PCC’s October 8th “Dialogue With the Director” post, Director Christina Angel indicated that the name change had been considered ever since Pop Culture Classroom changed its name in 2014 from its former designation, Comic Book Classroom. Angel pointed out that while comics remain the main focus of the group and the annual convention, the mission and breadth of PCC as an educational organization expands to all corners of popular culture. In an FAQ about the name change, the recent lawsuit by the organizers of San Diegos’ Comic Con against the group behind Salt Lake City’s event by the same name was a consideration, but not the deciding factor.

To be sure, the former Denver Comic Con featured an increasing presence of TV and movie character actors, writers and producers, along with panels discussing themes beyond the pages of graphic novels. In addition to events related to comic book writers and artists, DCC 2018 featured panels addressing mental health in horror movies, promoting women writers, and a 3-panel series on UFO and supernatural investigations. Check out DCC 2018’s highlights reel.

Tickets are available at the DPCC 2019 site. The convention schedule, as well as guests and attractions, will be posted at the DPCC site as it is developed.