If you have a Roku streaming media player and haven’t added Google’s YouTube app yet, now might be a good time to do so.

The Roku app for the most watched video site in the United States will leave Roku’s platform on December 9, as negotiations between Google and Roku remain at an impasse. It’s a dispute that Roku warned about in an article on his corporate blog Thursday morning and in a separate notice to customers before providing me with further details on a Zoom call a few hours later.

News of the December 9 deadline has arrived a tweet from Axios media writer Sara Fischer, who relayed Google’s response to Roku’s post. But the YouTube app on a Roku player offered viewers no warning on Thursday morning, and YouTube blog hasn’t spoken about it since April.

Google’s statement, since also sent to PCMag with a request not to be attributed to anyone by name, accuses Roku of “unproductive and baseless claims” without further details. But it does confirm that existing copies of the YouTube app will continue to work.

Interfere with “independent search results”

Roku’s post notes that he prefers content partnerships “built around mutually beneficial terms†—read: revenue sharing — but says the feud over the YouTube app isn’t about the money.

“We did not ask for a single change in the financial terms of our existing agreement,” he said. “In fact, Roku doesn’t make a single dollar from YouTube’s ad-supported video sharing service today, while Google makes hundreds of millions of dollars from the YouTube app on Roku. “

The publication, however, makes two accusations of anti-competitive behavior on the part of Google:

“First, Google continues to interfere with Roku independent search results, demanding that we prefer YouTube over other content providers. This is a concern shared by many companies who believe that customers deserve neutral and relevant results for their search queries. Second, Google discriminates against Roku by demanding search, voice, and data features they don’t insist on on other streaming platforms.

No mixing with other video providers

During a Zoom call, Roku executives (who spoke on condition they were not named) shared a screenshot of a September 23, 2019 email from a Google executive (including the name has been blacked out) requiring Roku to add a row of YouTube-only search results: “Voice / universal search results displayed in a dedicated YouTube shelf and not mixed with other video content providers.”

Roku says the feature, which this post describes as “must-have,” would require Roku to send all search queries to Google so that Google can process them and return the YouTube results for Roku to display. That, in turn, could give YouTube valuable insight into the tastes of Roku users.

During the call, Roku executives also said that YouTube requested two other privileges in Roku’s voice search:

• If a Roku user has opened the YouTube app and made a music-specific request like “Play the Beatles”, have Roku respond to that request in YouTube Music instead of the music app that the user defined as his fault.
• That Roku respond to a user’s voice searches for a movie by showing YouTube options to rent or buy them, even though the user can watch the movie for free on other services they are already paying for.

This isn’t Roku’s first streaming spit. YouTube TV’s app disappeared from its channel in April after Roku rejected Google’s demands for preferential search results, access to viewer data, and upgraded processing hardware.

The April 30 YouTube blog post covering the removal stated that Google had “never” asked Roku to allow it to “access user data or interfere with search results” and described the hardware requirements to enable 4K HDR and 8K viewing on compatible televisions.

During the Zoom call, executives at Roku called this statement “never” a lie. Google has yet to respond to an email requesting a response to Roku’s new claims.

Previously, Charter’s Spectrum app — a economical alternative to boxes rented by this cable operator – also faded away from Roku’s Channel Store for six months until the two companies strike a new deal that returns the app to Roku on August 17.

On the way to a break?

Google, meanwhile, faces more and more accusations of anti-competitive behavior. Last October, the Justice Department filed an antitrust complaint accusing it of illegal maneuvers to preserve its dominant share of the search market. In December, a coalition of states filed a separate complaint accusing Google of anti-competitive behavior in the display advertising market. In July, another group of states deposit yet another lawsuit alleging abusive surveillance of the Android Play Store.

Google and big tech companies in general have become increasingly unpopular among lawmakers in Washington, with lawmakers launching a variety of sweeping proposals to regulate social platforms. Some have called on the federal government to force Google to divest YouTube, which the company bought in 2006 for what now looks like a bargain price of $ 1.65 billion.

On Thursday, Senator Amy Klobuchar (D-Minn.) Released a statement noting this growing unease with the power of the biggest tech companies. “For too long, big technology platforms have leveraged their power to prioritize their products and services over those of thousands of small businesses online,” the statement read in part. “They said ‘just trust us’, but experience has shown that we cannot rely on these companies to act fairly in the market.”

Once again the Twittersphere has been divided over the dynamics of the Royal Family during Jubilee celebrations – this time after an observer noted that during the service marking the Queen’s Platinum Jubilee, the Duchess of Sussex seemed to turn her head away as a sister-in-law. appeared in her peripheral vision as she made her way to her seat at St. Paul’s Cathedral.

At the service to honor Her Majesty’s 70 years of service, many royal fans kept a close eye on William and Harry’s wives – and couldn’t help but agree with the observer who has pointed out on social media what she called an “obvious” snub from Kate as she arrived for the ceremony.

The Duke and Duchess of Sussex had returned to the UK from their Los Angeles home for Platinum Jubilee celebrations in their first public appearance with the Cambridges since leaving these shores. Although the Duchesses never met at Friday’s Thanksgiving service, an eagle-eyed fan called Kitty pointed out that Meghan could be seen turning her head away from the Duchess of Cambridge in an apparent refusal to even look at her.

Royal fan Kitty shared the BBC footage of the moment the Duke and Duchess of Cambridge entered the cathedral on her Twitter account. Captioning the clip, she wrote: ‘Did everyone notice the woman in the white hat (Meghan) turned her head to the left as the Duchess of Cambridge walked past…’ Other royal watchers said quickly agreed, with many saying they had also noticed this.

One wrote, “It’s very obvious,” while another said, “Wow, it’s obvious when you see it.” A third said: “First place! She definitely turned away!”

But others criticized the attacks on Harry’s American wife. One angry commenter wrote: “What a load of BS. Leave the Sussexes alone. They both looked very comfortable. It was W & C who were uncomfortable and it showed. Jealousy is a curse.” And another observed: “What a negative BS this is. Enough pictures of H laughing with his cousins ​​and M smiling with him to know they weren’t uncomfortable. Kate had her straight face most of the time.”

And in a third view of claims and counterclaims launched on the media platform, a Twitter user posted a large animation of 20th Century Fox’s intro, edited to read: ‘Nobody cares’ .

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The Giro d’Italia Donne for a long time, the female iteration of the Giro d’Italia The stage race, formerly known as the Giro Rosa, is back this year, but with a downgraded UCI status. However, despite the downgrading of Women’s WorldTour status to a UCI Women’s ProSeries event, it will feature the best women’s teams in the world as many riders use this 10-day stage race as Olympic preparation.

This year’s edition of the Giro Rosa will see 24 teams and 144 riders compete for the Maglia Rosa (pink jersey) over 10 stages and 1,022 kilometers, or 635 miles. Each day, five jerseys will be awarded: Pink for the leader of the General Classification (GC), Cyclamen – purple – for the leader of the General Points, Green for the Queen of the Mountains, White for the best youngster and Blue for the best Italian. to the CG.

History of the Giro d’Italia Donne

In its 32nd edition, the Giro d’Italia Donne is one of the oldest women’s stage races in the world. Formerly known as Giro d’Italia Femminile and Giro Rosa, it started in 1988 and has been held for almost every year. It is one of the only women’s races to actually have 10 racing stages. This is two more stages than the highly anticipated Tour de France Women, scheduled for 2022.

While it has lost WorldTour status for 2021, the organizers are confident that thanks to the new leadership of PMG Sport / Starlight, the race will be back on the WorldTour circuit for 2022. “The UCI’s decision to bring back the Giro d’Italia Donne in the Women’s World Tour in 2022 is excellent news as the Giro, â€said Roberto Ruini, founder of PMG Sport and general manager of Giro d’Italia Donne, in a statement. this year to invest all the means available to give fair value to this great sporting event. He also noted that this year the prize money has doubled, and the safety for runners has been improved.

The road

The Giro d’Italia Donne route will cross four regions of northern Italy: Piedmont, Lombardy, Veneto, Friuli-Venezia Giulia. For those who do not know Italian geography, Piedmont borders France and Switzerland at the foot of the Alps. Nearby, the region of Lombardy includes its capital, Milan, and the famous seaside resort of Lake Como. Veneto, homeland of Venice, lies to the east of Lombardy and stretches from the Dolomites mountain range to the Adriatic Sea. Finally, Friuli-Venezia Giulia is located on the border of Austria and Slovenia and includes some of the Dolomites.

“The high technical quality of the race is guaranteed by the presence of all the most important teams in the world and by a course of medium to high difficulty which is extraordinary from a landscape and naturalistic point of view and which symbolically touches the most important Italian regions. affected. by the first wave of the pandemic “, explains race director Giuseppe Rivolta.” If last year the intention was to be the edition of the restart, this year’s edition will and can be the one rebirth. “

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Steps

The Giro d’Italia Donne is divided into 10 stages, covering 1,022 kilometers (635 miles) in total over the 10 days of racing.

Stage 1 – July 2 – Fossano to Cuneo

26.7 kilometers / 16.5 miles

The Giro begins with a relatively flat team time trial that only climbs 100 meters over a 16.5 mile course.

Stage 2 – July 3 – From Boves to Prato Nevoso

100.1 kilometers / 62 miles

Just over 1,000 vertical meters start the race’s mountain stages very early, ending with a massive climb and determining who will be the first rider to wear the coveted pink jersey.

Stage 3 – July 4 – Casale Monferrato to Ovada

135 kilometers / 83 miles

Another mountainous stage, this one punctuated by a few tight and short climbs in the second part of the race.

Stage 4 – July 5 – Formazza Loc. Fondovalle in Riale Di Formazza Cascate Del Toce

11.2 kilometers / 6.96 miles

An individual time trial of only 11.2 kilometers offers no respite for the runners: it is a difficult gradual climb of 500 meters that ends at the highest altitude in the region: 1,714 meters.

Stage 5 – July 6 – Milano to Carugate

120.1 kilometers / 74.6 miles

Milan might be known as the Fashion Capital of the World, but July 5th will also be the start of Stage 5. It’s the flattest stage so far, so be sure to log in for a possible sprint finish.

Stage 6 – July 7 – Colico to Colico

155 kilometers / 96.3 miles

This long, mountainous stage circles Lake Cuomo and is the only stage that ends at the same place it begins. This is the longest stage of the race and it is punctuated with hard climbs after hard climbs, with very few “relaxing” sections.

Stage 7 – July 8 – Soprazocco Di Gavardo in Puegnago Del Garda

109.5 kilometers / 68 miles

This race is made up of six 11 mile circuits with five significant climbs that count towards the Mountain ranking, ending with a top finish.

Stage 8 – July 9 – San Vendemiano to Mortegliano

129.4 kilometers / 80.4 miles

Finally, another flat step. Look for teams to start making moves as the race enters the final stages.

Stage 9 – July 10 – Feletto-Umberto to Monte Matajur

122.6 kilometers / 76.1 miles

This mountain stage presents the greatest difference in altitude from start to finish, with a finish at the top of Mount Matajur which is 1,124 meters above the start.

Stage 10 – July 11 – Capriva del Friuli in Cormons

113 kilometers / 70.2 miles

The last stage, yet another mountain stage, will end in Cormons. Four major climbs for mountain points are separated over 70 miles, with a slight descent leading to an exciting finish.

Who are the runners to watch?

Because the race only takes place a few weeks before Olympic Games, it could be very different from the races of the previous season. Runners who use it as preparation for the Olympics will focus on performing well but try to avoid burnout or injury before Tokyo. Some runners who are usually podium favorites, such as multiple time world champion and two time race winner Annemiek van Vleuten (Movistar) —will not be present during the preparations for the Games. Meanwhile, runners who weren’t on their country’s Olympic team will be thirsty for redemption, so there could be some upheaval on the podium.

Runners to watch include Anna van der breggen (SD Worx), Amanda Spratt (BikeExchange), Lucinda Brand (Trek Segafredo), Marianne Vos (Lotto Jumbo) and Elisa Longo Borghini (Trek Segafredo). You can consult the complete start list here.

Vos and Van der Breggen have both won the Giro d’Italia Donne three times in their careers, with Van der Breggen winning the 2020 iteration which took place last September (postponed from the usual July date due to COVID). Vos hasn’t won the race since 2014, but has had a great start to the 2021 season, including a victory at the Amstel Gold Race in April and a podium at La Course last weekend, finishing just ahead of Van der Breggen. And Van der Breggen has had an excellent stage racing season so far, winning the Vuelta a Burgos Feminas in May and the Omloop Het Nieuwsblad in February.

However, Spratt and Longo Borghini are no strangers to the podium either: Spratt has finished third overall twice, and Longo Borghini has finished second in 2017 and third in 2020.

This race is filled with American riders as well as: Tayler Wiles and Ruth winder from Trek-Segafredo; Alexis Ryan on Canyon-SRAM; Leah Thomas on Movistar; Coryn Rivera on the DSM team; Kristen Faulkner, Lauren Stephens, Emily Newsom and Clara Honsinger in the TIBCO-SVB team; and Heidi Franz, Holly Breck, Katie Clouse and Krista Doebel-Hickock from Rally Cycling. Some of these athletes, including Kristen Faulkner and Tayler Wiles, openly discussed and contested USA Cycling’s Olympic selection process and will likely be racing with a fire revived as a result.

Where can I watch the race?

Unfortunately, part of the reason this stage race was downgraded from its old ranking is because the organizers failed to provide the required TV coverage last year. But organizers have promised an hour of content on each stage, covering the final 15 kilometers of the race followed by interviews with top finishers and coverage of the podium ceremony.

“Last year we reached a global audience of over six million users,†says Ruini. “This year, we have dramatically expanded the potential user base, through a worldwide distribution of never-before-seen domestic and international broadcasters and streaming media … For the first time, we are broadcasting live the last 15 kilometers of the race, an additional productive effort to pursue the objective, shared with the FCI (Federazione Ciclistica Italiana) and the UCI (Union Cycliste Internationale), of giving maximum importance to a historic sporting event and to all its protagonists. “

Most of the time, the live broadcast begins between 8 a.m. and 9 a.m. EST on the race YouTube channel, and can also be taken on GCN Race Pass (available in some territories). Cycling fans around the world can help advocate for better coverage of women’s races by tapping in each day to watch the race end.

Teams

• Jumbo Visma Women’s Team (Netherlands)
• Alé BTC Ljubljana (Italy)
• Canyon / SRAM Racing (Germany)
• FDJ New – Futuroscope Aquitaine (France)
• LIV Racing (Netherlands)
• Movistar Women’s Team (Spain)
• DSM team (Germany)
• Trek-Segafredo (UNITED STATES)
• AR Monex women’s professional cycling team (Italy)
• Team BikeExchange (Australia)
• SD Worx team (Netherlands)
• Cycling rally (UNITED STATES)
• Arkea Pro cycling team (France)
• Bepink (Italy)
• Aromitalia Basso Bikes Vaiano (Italy)
• Biscay-Durango (Spain)
• Born to win the G20 Ambedo (Italy)
• Ceratizit – WNT Pro Cycling Team (Germany)
• Isolman-Premac-Vittoria (Italy)
• Lotto Soudal Dames (Belgium)
• Top Girls Fassa Bortolo (Italy)
• Servetto-Makhymo-Beltrami (Italy)
• TIBCO Team – Silicon Valley Bank (USA) CTW
• Valcar – Travel and Service (Italy)

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Print Media Centr announces the launch of Project Peacock Network, a video streaming platform sharing print inspiration and resources with print and marketing professionals around the world, 24/7/365.

The Project Peacock network can be accessed at ProjectPeacock.TV and kicks off with the Project Peacock: Print Production series, produced in partnership with INK.TV. These episodes share the benefits of collaboration between creative, paper, print, finishing and technology partners to ensure that printed materials achieve the intended creative and business results.

Project Peacock started in 2017 as a show-and-tell in ad agencies. In 2019, Project Peacock transformed into a print fair where students, print service providers and industry vendors were also invited to attend. In 2021, the Project Peacock online platform was launched for online networking and events with a growing network of Peacock partners.

“Project Peacock has had over 4,000 attendees to date, but the data for views of platform session replays tells me that audiences want quality content to watch for themselves and a platform to watch. form of streaming was the perfect way to achieve this,” said Deborah Corn, Intergalactic Ambassador to the Printerverse at Print Media Centr and founder of Project Peacock.

The Peacock Network Project is produced in association with Inkish.TV. “We’ve worked closely with Deborah Corn and Print Media Centr for years, and I was very pleased when she approached INKISH for this exciting project,” says Morten Reitoft, Managing Editor. “INKISH is about storytelling, and ProjectPeacock.TV reaches end users, PSPs, OEMs and vendors, completing our mission to serve the entire value chain with our films.”

Project Peacock: Print Production, is the first series to be launched on the network. Each episode tells a story about the collaboration and how the unique challenges of featured projects were resolved.

Canon Solutions America and Domtar Paper, which have been part of Project Peacock since its inception, and Neenah are the first companies to have streaming episodes on the platform.

“Canon Solutions America is proud to support Project Peacock and help launch Project Peacock: Print Production Series,” said Tonya Powers, Canon Solutions America Marketing Manager, Production Print Solutions. Powers continues, “Print is woven into the fabric of our lives and the collaboration between brands, designers and print service providers is what brings these interactions to life. We are thrilled to highlight this collaboration and celebrate these stories.

Meredith Collins, Customer Marketing Manager at Domtar, said, “What better way to highlight the importance of working together than to tell the story of how a few award-winning promotional items were made? A collaborative relationship between paper mill, merchant, printer and designer is a beautiful thing, and Domtar is thrilled to be able to share this story with everyone. What’s even more exciting is that we’re telling this story on Project Peacock Network, the premier streaming platform for print.

“At Neenah, we see paper as a design element, essential to the success of the finished product. And there is nothing more important in the production process than open communication and collaboration with the printer to ensure that the conceived visions come to life,” said Michele Pistone, Marketing Manager, Neenah. Pistone continues, “We couldn’t be more excited to be part of this new Print Production series, giving viewers a behind-the-scenes look at our own printed pieces and the challenges we’ve overcome.

Visit ProjectPeacock.TV to access all the programming and connect for a partnership proposal.

Source: Written press center

The preceding press release was provided by a company not affiliated with Print impressions. The views expressed herein do not directly reflect the thoughts or opinions of the staff of Print impressions.

New Jersey, USA, – Mr Accuracy Reports, Enterprise streaming media market The report contains detailed information on the factors influencing demand, growth, opportunities, challenges and restraints. It provides detailed information on the structure and outlook of global and regional industries. Additionally, the report includes data on research and development, new product launches, product responses from global and local markets by key players. Structured Analysis offers graphical representation and schematic breakdown of Enterprise Streaming Media market by region.

The global Enterprise Streaming Media market size will reach (market size 2028 $$) million USD by 2027 with a CAGR of % from 2022 to 2027.

Some of the Major Key Players profiled in the study are Abcast, Adaptv, Adobe Systems, Apple, Avaya, AVI-SPL, Cisco Systems, Digitalsmiths Corp, Digital Rapids Corp, Haivision Systems, SAP AG, Microsoft Corp

Request to download an example of this strategic report @ https://www.maccuracyreports.com/report-sample/451533

Market overview

Over the past few years, the Enterprise Streaming Media market has witnessed a huge change under the influence of COVID-19, the global Enterprise Streaming Media market size reached (market size 2021 $$) million in 2021 from (market size 2016 $$ ) in 2016 with a CAGR of 7% from 2016-2021 est. At present, the global cases of the COVID-19 coronavirus have exceeded 200 million, and the global epidemic has been basically under control. Therefore, the World Bank has estimated the global economic growth in 2021 and 2022. The World Bank predicts that the global economy will grow by 4% in 2021 and 3.8% in 2022. According to our market research Enterprise Streaming Media and global economic environment, we forecast the global Enterprise Streaming Media market size to reach (market size 2026 $$) million $ by 2026 with a CAGR of % from 2021- 2026.

Due to the COVID-19 pandemic, according to World Bank statistics, global GDP shrank by around 3.5% in 2020. As 2021 dawns, economic activity in many countries has started to recover and has partially adapted to pandemic restrictions. Vaccine research and development has made breakthrough progress, and many governments have also issued various policies to stimulate economic recovery, especially in the United States, are likely to give a strong boost to economic activity, but the Sustainable growth prospects vary considerably from country to country. sectors. Although the global economy is recovering from the Great Depression caused by COVID-19, it will remain below pre-pandemic trends for an extended period. The pandemic has exacerbated the risks associated with the decade-long wave of global debt accumulation. It is also likely to accentuate the long-awaited slowdown in potential growth over the next decade.

The world has entered the recovery period from the COVID-19 epidemic. In this complex economic environment, we have published the Global Enterprise Streaming Media Market Status, Trends and COVID-19 Impact Report 2021, which provides a comprehensive analysis of the global Enterprise Streaming Media Market. This report covers manufacturer data including: sales volume, price, revenue, gross margin, business breakdown, etc., these data help the consumer to know the competitors better. This report also covers all regions and countries in the world, which shows the status of regional development, including market size, volume and value, as well as price data. Additionally, the report also covers segment data including: type, industry, channel, etc. all data period is 2015-2021E, this report also provides forecast data from 2021-2026.

Regional segmentation
North America (United States, Canada, Mexico)
South America (Brazil, Argentina, Other)
Asia-Pacific (China, Japan, India, Korea, Southeast Asia)
Europe (Germany, UK, France, Spain, Italy)
Middle East and Africa (Middle East, Africa)

Enterprise Streaming Media Segmentation by Type:

Video conferencing, video content management, webcasting, web conferencing.

Enterprise Streaming Media Segmentation by Application:

Knowledge sharing and collaboration, corporate communications, training and development, marketing and customer engagement

Please click here today to purchase the full report @ https://www.maccuracyreports.com/checkout/451533

What is the purpose of the report?

The market report presents the estimated size of the ICT market at the end of the forecast period. The report also examines historical and current market sizes. During the forecast period, the report analyzes the growth rate, market size and market valuation. The report presents current industry trends and future potential for North America, Asia-Pacific, Europe, Latin America, Middle East and Africa markets. The report provides a comprehensive view of the market based on geographic scope, market segmentation, and financial performance of key players.

Listen to the Stuff To Watch podcast by hitting the “play” button below, or find it on podcast apps like Apple Where Spotify.

CHLOE (PREMIUM VIDEO)

Six-part British psychological thriller that follows the troubled Becky Green (Erin Doherty), a young woman who becomes increasingly obsessed with tracking down the perfectly organized presence of her childhood friend Chloe Fairbourne (Poppy Gilbert) on the social networks. Struggling to care for her mother, who suffers from dementia praecox, Becky spies on an opportunity to assume a new identity and social circle when Chloe suddenly dies under mysterious circumstances.

Best known for her work on Netflix’s Sex Education, writer-director Alice Seabright has crafted a supremely clever tale, one that will likely have you guessing – and on the edge of your seat – until the final images.

Much of its appeal comes from its complicated and unreliable protagonist. We first wonder what her motivations are, why she feels the need to fill the office whiskey with urine, and how much of what she perceives is actually in her mind.

Doherty, whose breakout role was Crown Princess Anne in seasons three and four, is a revelation here, twisting and morphing her various characters in order to get what she wants, while clearly being in a lot of psychological torment herself. It’s a stunning performance – a rare skill to make this villain potentially noteworthy, something much deeper, nuanced and potentially likable.

FOR ALL HUMANITY (APPLE TV+)

The 10-part third season of this critically acclaimed alternate-reality sci-fi series jumps to 1995.

The red planet has now become the new frontier of the space race, not only for the United States and the Soviet Union, but also an unexpected new entrant with much to prove – and even more at stake. come face to face as their ambitions for Mars collide and their loyalties are tested.

“The series continues to excel in balancing its sprawling ensemble of characters, all driven by a dizzying array of motivations, with the precise textural demands of a well-dressed period piece,” wrote Alexis Gunderson of Paste magazine.

READ MORE:
* Neon’s First Lady, Amazon’s Outer Range, Apple’s Roar among April’s must-watch shows
* Downton 2, Fantastic Beasts 3, New Zealand-shot X among must-see movies in April
* Question team: Richard Ayoade and his friends “hilariously rewrite the panel show”
* The Chase USA: more money, more danger, but not as much fun
* Winning Time: Neon’s hugely entertaining look at a crazy decade

IRMA VEP (NEON)

Frenchman Olivier Assayas directs this eight-part remake of his 1996 film of the same name, itself based on the seven-hour, 10-part silent series Les Vampires, as well as 1973 Oscar winner Day For Night and from the legendary Beware of a Holy Whore by German director Rainer Fassbinder.

While its sometimes cynical (and sometimes excoriating) examination of modern filmmaking may not appeal to everyone, it does offer plenty of intrigue and a terrific turn of Alicia Vikander in the lead role. If you enjoyed Assayas’ polarizing collaboration with Kristen Stewart – 2016’s supernatural psychological thriller Personal Shopper – then you better clear your calendar for it.

At times sounding like the best French farce, at others the European equivalent of Robert Altman’s The Player or Barry Levinson’s Wag the Dog, Irma Vep is definitely not short on humor, or bad manners.

THE LAZARUS PROJECT (NEON/SKY GO)

I May Destroy You’s Paapa Essiedu stars as George, a man who wakes up one day with a distinct sense of deja vu in this eight-episode sci-fi-inspired action thriller. He relives a day from his past, with a few exceptions – his success at work and his marriage to the love of his life seem never to have happened.

Though convinced he’s lost his mind, he instead finds himself recruited into a secret organization that claims to be able to turn back time whenever the world is threatened with extinction.

Viewers might be given to feel more than a little drained by the exposition and action of the first installment, but fans of sci-fi steeped dramas like Tenet, Station Eleven, Doctor Who, Timecop and The Adjustment Office should be well satisfied.

Screenwriter Joe Barton, who helped create a successful English-language adaptation of The Humans of Sweden and was behind last year’s underrated Riz Ahmed thriller Encounter, is once again demonstrating his ability to make the organic fantasy and my evocative, sometimes gritty personal drama from potential absurd concepts.

LOOT (APPLE TV+)

Maya Rudolph of The Bridesmaids stars in this 10-part comedy about a billionaire whose dream life crumbles when her husband betrays her for 20 years.

In a public spiral, she heads for the bottom when she learns that she actually has a charitable foundation that desperately wants her to stop making negative headlines. Embark on a journey of self-discovery as she discovers the benefits of giving back to others.

“Philanthropy as a whim? It’s pretty funny and gives Rudolph plenty of room to play grand while poking fun at the lives of the filthy rich. wrote Matthew Gilbert of the Boston Globe.

THE RESPONDENT (TVNZ ON REQUEST)

While it’s not as dark as Cracker or Luther, nor does it boast the attention to detail and police politics of Line of Duty, it is nonetheless an absorbing character study and a jaw-dropping thriller. .

Cleverly crafted by former Merseyside police officer Tony Schumacher, it deliberately leaves only hints of troubled police officer Chris Carson’s high-flying past and falls out of favor, leaving the viewer desperate for more. , while not sure how Martin Freeman’s character will play things. .

It also speaks to Freeman’s skill as an actor, making you forget about his past baggage as Baggins and Dr. Watson and ensuring you care about his ultimate fate, even if you’re not convinced that he will end up on the right side of the law.

THE UMBRELLA ACADEMY (NETFLIX)

As the third season of this popular superhero series begins, the Umbrella siblings find themselves in an altered timeline after their “adventures” in Dallas. It is revealed that after they met in 1963, Sir Reginald chose not to adopt them, but 6 other children instead, turning them into a skilled and popular team of superheroes dubbed “The Sparrow Academy”.

However, as they reach an uneasy deal, a time anomaly caused by running out of time threatens them all.

“Think Wes Anderson meets Curb Your Enthusiasm – with a pinch of ‘biff pow!’ comic book excitement crossed” wrote Ed Power of the Daily Telegraph.

UNDER THE SKY BANNER (DISNEY+)

The latest adult drama to make its unlikely home on Disney+ is further proof that Andrew Garfield is in the actor form of his life.

Based on the 2003 investigation by Jon Krakauer (Into the Wild, Into Thin Air) into the 1984 murders of Brenda and Erica Lafferty, Under the Banner of Heaven sees Garfield, 38, born in the United States and raised in England , playing East Rockwell, Utah detective Jeb Pyre.

Like 99 percent of the town, he is a God-fearing Latter-day Saint (LDS) member, using the teachings of Joseph Smith to guide his actions and lifestyle. But he is deeply shaken by the “house of horrors” he encounters one evening, a 24-year-old young woman and her 15-month-old daughter brutally murdered, their blood spattering over a wide area.

Cast off religious trappings and investigate the history of a particular faith and, at its heart, Under the Banner of Heaven is simply a tremendous dramatization of true crime. Gripping and dripping with dramatic tension, it feels like a lost True Detective series.

“On television and videois a column exploring the opportunities and challenges of advanced television and video.

Today’s column is by Steve Sottile, Chief Revenue Officer at Indiscipline.

It has long been accepted in our industry that as long as major live sporting events are broadcast on TV and cable, linear will remain relevant to consumers and therefore advertisers.

But the sports industry is now also looking to participate in high-growth areas, including video streaming and connected TV.

Typically, broadcast and cable apps already stream sports on their own apps or vMVPDs (virtual distributors of multi-channel video programming or services that provide access to TV channels over the Internet).

However, while the major streaming platforms (read: Apple and Amazon) are trying hard to get a slice of the pie, they’re giving streaming a run for its money.

Today, this linear and CTV fragmentation creates problems for both consumers and advertisers, particularly in terms of cross-platform measurement and audience deduplication.

The chaos behind kick-off

With so many OEMs, operating systems, content providers, and streaming devices collecting their own audience data (and keeping it within the confines of their own walls), brands can’t analyze the data holistically in a way that paints a clear picture of who they are reaching. .

And among these companies, even the definition of motto in their measurement reports creates disjointed definitions of “success.”

Let’s break down an example:

Amazon has acquired exclusive rights to Thursday Night Football through 2033. It is live streaming 15 total NFL games this season, with all Thursday Night Football games available to stream on Amazon Prime. (For the past three years, Fox owned the broadcast rights to those games, while Amazon owned the streaming rights — now Amazon owns everything.)

In local markets for teams playing on a given Thursday, games are televised for free on the Prime Video app, but out-of-market fans need an Amazon Prime subscription. Amazon is producing its own show rather than using Fox’s, as it previously did.

Additionally, Amazon concluded a deal with DirecTV to broadcast the games to “more than 300,000 sports bars, restaurants, hotel lounges, retail and service stores, and many other locations nationwide”.

On Sundays, NFL games are available through NBC and their Peacock streaming platform, as well as on FOX, CBS and Paramount+. And on Monday nights, games can be watched via Disney-owned ESPN (with a handful of games also airing on ABC).

Although the Prime Video app is available on almost all smart TVs, if you’re a football fan without an Amazon Prime account, it could be aggravating. Traditionally, you could access all football nights through your linear TV or vMVPD. If you’re already paying for Peacock and/or Paramount+, you’re now going to be shelling out over $139 a year to be a Prime member or $8.99 a month just for video, in addition to maintaining your cable subscription.

Overcome new obstacles

While this fragmentation is frustrating for fans, imagine what it means for advertisers who already face ongoing measurement and efficiency challenges when working in the silos of walled gardens. The multiplicity of measurement sources, lack of standardization of currencies and unknown duplicates are just some of the obstacles they face.

As an advertising and media industry, we create unnecessary problems for brands looking to reach audiences that increasingly straddle linear TV and streaming. Many in the industry are focused on providing a solid open web solution to these challenges. But we operate in a world that lacks monetary normalization.

Rather than wreaking havoc on advertisers, the industry needs to align better. Amazon partnership with Nielsen is an example of a step in the right direction. Standardization is the only way to make this work, so advertisers can truly understand the ROI of their spend.

Follow Unruly (@unrulyco) and Ad Exchange (@adexchanger) on Twitter.

Lionsgate is officially exploring its options for Starz, considering a separation of the pay-TV and streaming business and its studio operations.

According to a regulatory filing Thursday related to its quarterly earnings, Lionsgate’s board of directors made the decision this week.

“On November 2, 2021, the board of directors of the company authorized the company’s management team to explore potential alternatives in the capital markets for its media network business (STARZ), including, but without be limited to this, a total or partial split, a split, the issuance of a follow-up stock or other transactions â€, indicates the file.

“As we continue to realize substantial synergies by bringing Lionsgate and Starz together, we also see the opportunity to potentially unlock significant shareholder value in a scenario where investors have the opportunity to value our studio and Starz assets separately,” said Michael Burns, vice president of Lionsgate. on the company’s earnings call. “The recent multiples of transactions in the media space give us the assurance that it is prudent to explore other avenues. In addition, we believe that a number of structures that we are considering would allow Lionsgate and Starz to preserve many of the operational advantages that we are currently achieving within a single corporate structure.

“Even though we don’t normally talk about the value of stocks, it’s pretty clear to us that we don’t get the value of some of our coins,†he added, noting in particular his international activities and investments.

Starz is a pay TV channel similar to HBO and Showtime, and also offers a streaming service. Its programming includes Power franchise, Blind spot, and Upper town.

Lionsgate acquired Starz in 2016 for $ 4.4 billion.

The record suggests the company is in the early stages of the process, and Burns said “the timing would depend on which route we choose, that’s an open question.”

Game Jolt, social community for gamers and creators, introduces customizable live streaming features with concerts and other interactive virtual events.

SEATTLE, WASHINGTON, USA, August 22, 2022 /EINPresswire.com/ — jerk game announced its live streaming feature that offers a user-friendly, interactive and versatile alternative to typical streaming services, along with customizable streaming setups, creative options for audience engagement, and built-in moderation tools. The social community for gamers and creators began showcasing it through a diverse range of virtual events, from conferences to game streams and concerts.

Live streaming on Game Jolt creates an inviting pop-up virtual event space with a playful “choose your own adventure” feel and settings that can be customized to fine-tune the experience based on individual and brand preferences . Hosts can stream with unlimited people and offer multiple viewpoints for viewers to choose from. Audiences can choose how they prefer to interact with creative options in addition to standard features such as gifs, voice and text chat. A crowd favorite, virtual “stickers” with humorous images are collected and slapped across the screen during real-time streams for all to enjoy.

These customizable features are in high demand by the next generation of creators emerging on the platform. To date, Game Jolt users have watched over 12,176,039 minutes of live streams.

To show how these features can be used to highlight and create new opportunities for digital creators, Game Jolt has partnered with ai music platform, PlusMusic, to host a virtual concert series on the last Friday of each month. In addition to featuring signed artists, Game Jolt actively recruits up-and-coming musicians from their own platform to add to the lineup.

“We are seeing a demand for more flexibility in how people engage and grow their online communities. While existing streaming platforms are designed to support one person for one audience, we’re building a way for creators to engage, follow each other and grow together.” said Yaprak DeCarmine, CEO of Game Jolt.

Live concerts are Game Jolt’s latest announcement as another high-profile use of the feature, following a conference-style event, “Girls in Games,” in partnership with Amazon Web Services (AWS) for games. Nearly 10,000 viewers tuned in during the stream to receive live mentorship from executive speakers from Electronic Arts, Netflix, Warner Bros. and Sony. Game Jolt drives innovation for authentic engagement on social platforms through collaborations with brands as well as individual creators and can be reached for potential event partnerships at [email protected].

About Game Jolt:

Game Jolt is revolutionizing social media for Gen Z gamers with an engaging and entertaining platform that changes the way they share content and build community. Along with offering image, video and live stream sharing, platform events and mini-games are designed and showcased for the millions of gamers and unique creators who call Game Jolt their home online.

Emily Ruth
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[email protected]
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Every week, MobileSyrup outlines some of the most notable movies and TV shows that have recently hit Canadian streaming platforms.

Our ‘Streaming in Canada’ section generally focuses on new content from Amazon Prime Video, Crave and Netflix, but other services like Apple TV+ and Disney+ will be mentioned where appropriate. Premium video-on-demand (PVOD) platforms are also fair game, as movies continue to come to digital at the onset of the COVID-19 pandemic.

Finally, we’ll highlight shows or movies that are made by Canadian companies, involve notable Canadian cast or crew, and/or are filmed in Canada.

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Amazon Prime Video

A hero [Amazon Original]

After being imprisoned for failing to repay a debt, a father has two days to get his creditor to drop the charges.

A hero was directed by Asghar Farhadi (Seller) and stars Amir Jadidi (Cold sweat), Sahar Goldoost (leading role) and Mohsen Tanabandeh (Capital city).

Amazon Prime Video Canada premiere date: January 21, 2022
Kind: Drama
Duration: 2 hours, 8 minutes

Flux A hero here.

A Amazon Prime Video Subscription is included at no additional cost with an Amazon Prime membership, which costs $79/year.

The full list of movies and shows streaming on Amazon Prime Video Canada this month can be found here.

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AppleTV+

Servant (Season 3) [Apple Original]

The Turners desperately try to get back to normal life as a new darkness looms.

Servant was created by Tony Basgallop (What’s left) and stars Toby Kebbell (black mirror), Lauren Ambroise (Six feet Under ground), Free Nell Tiger (game of thrones) and Rupert Grint (the Harry Potter franchise).

Apple TV+ Canada premiere date: January 21, 2022 (first episode, new episodes every Friday)
Kind: Psychological horror
Duration: 10 episodes (about 30 minutes each)

Flux Servant here.

Apple TV+ costs $5.99/month in Canada.

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have a strong desire to

Billions (season 6)

With Ax gone, Chuck must develop a more sophisticated strategy than before.

Billions was created by the illusionist producers Brian Koppelman and David Levien and New York Times journalist Andrew Ross Sorkin and stars Paul Giamatti (Cinderella Man), Corey Stoll (Card castle) and Maggie Siff (Sons of Anarchy).

Crave premiere date: January 21, 2022 at 9 p.m. ET (first episode, new episodes every Sunday at 9 p.m. ET)
Kind: Drama
Duration: 12 episodes (about an hour each)

Flux Billions here.

Fanny: the right to rock [Crave Original]

Montreal filmmaker Bobbi Jo Hart (Rebels on Pointe) tells the story of two Filipino-American sisters who formed the rock band Fanny, which almost became the female version of The Beatles.

Crave premiere date: January 17, 2022
Kind: Music documentary
Duration: 1 hour 36 minutes

Flux Fanny: the right to rock here.

A standard Crave subscription is priced at $19.99/month, with Starz costing an additional $5.99/month. A mobile-only subscription is also available for $9.99/month.

The full list of Crave movies and shows this month can be found here.

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netflix

Ozark (Season 4 — Part 1) [Netflix Original]

As the Byrdes move closer to freedom from the cartel, family tensions threaten to turn everything upside down.

ozark was created by Bill Debuque and Mark Williams (Accountant) and stars Jason Bateman (Development stopped) and Laura Linney (The Savages).

Note: This is the final season of the series, with the second batch of episodes (“Part 2”) expected to drop sometime later in 2022.

Netflix Canada Release Date: January 21, 2022
Kind: Drama
Duration: Seven episodes (51 to 67 minutes each)

Flux ozark here.

The royal treatment [Netflix Original]

Sparks fly when a New York hairstylist attends a prince’s wedding.

The royal treatment was directed by Rick Jacobson (Ash vs Evil Dead) and star Laura Marano (Austin and ally), Toronto’s Mena Massoud (Aladdin) and Chelsie Preston Crayford (The cult).

Netflix Canada Release Date: January 20, 2022
Kind: Romantic comedy
Duration: 1 hour 37 minutes

Flux The royal treatment here.

Too Hot to Handle (Season 3) [Netflix Original]

A new group of singles heads to an island and tries to stay single for a chance to win $100,000.

It should be noted that one of the contestants, 22-year-old personal trainer Obi Nnadi, is from Toronto.

Netflix Canada Release Date: January 20, 2022
Kind: Reality
Duration: Ten episodes (33 to 49 minutes each)

Flux Too hot to handle here.

Following a recent price increase, a “Basic” Netflix subscription costs $9.99/month, a ‘Standard’ subscription (HD support) costs $16.49/month and a ‘Premium’ subscription is priced at $20.99/month (4K support).

The full list of movies and shows coming to Netflix Canada this month can be found here.

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What are you planning to stream this week? Let us know in the comments.

For more viewing suggestions, check out last week’s Streaming in Canada column.

Image credit: netflix