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Issue link: https://digital.macdirectory.com/i/1496181
also interesting to viewers in other countries and increasingly around the globe. Academics can’t be bothered with little things like that … jeezz! But he and our North Carolina and Delaware university folks got it wrong by identifying and blaming “them” for all of the piracy of content. According to Digital TV Research, 67 percent of the pirate sites are hosted in North America and Western Europe with more than 230B folks enjoying their free movies/shows resulting in lost income of $50-$70B last year The US lost the most to online piracy last year--an estimated $11.6B, thanks to “local” visitors. Even with all of its surveillance, China came in second, losing an estimated $8.9B last year. APAC has overtaken North America for the largest region for online piracy totaling nearly $20B in losses. “Piracy will always be part of the model,” Allan McLennan, Chief Exec/Global Head of M&E Industry Strategy, PADEM Media Group, said, “but consumption rates will start to decelerate as the benefits of legal choices become more apparent especially now that there are options that are more flexible/economically attractive.” Studios around the globe (especially those with fledgling streaming services) experimented with a variety of release strategies over the last two years – simultaneous releases as well as seven-day and longer releases. The goal was to: • provide content to movie fanatics • respond to theater owners’ requests for something – anything – to put on their screens • deliver a response to investors/stakeholders growing fiscal concerns Okay, so maybe studios saw an opportunity to break the long-disputed/outmoded theatrical window once and for all, but at what cost? Studios saw simultaneous theatrical/streaming releases as a way to satisfy seat-in-seat diehards (young males) and to feed unique content to their streaming service to increase subscriptions. Simultaneous releases satisfied absolutely no one and hurt major project providers, especially WBD and Disney. The decision cost “a few people” their jobs at WBD and forced the company to pay out hundreds of millions to appease surprised stakeholders. The move also significantly damaged the company’s long-standing reputation as “the house to go to to make great films.” Disney’s move with Black Widow was an expensive financial and image move by former CEO Bob Chapek, but both recovered and improved. The Mouse House took ownership of the mistake, improved its communications with all parties and refined its delivery of good/great content for movie house aficionados and home subscribers. The real benefactors of