Disneyflix: Disney’s entry into the VOD attacks Netflix and HBO

When television came into the living room of many homes, the film industry got up to its knees with anxiolytics because that meant that people would not leave their homes and would be the death of cinema. But the apocalypse didn’t come. Then they were born those square black plastic things called VHS that some of those who read this will not have seen in their life. Disney itself began by categorically rejecting this physical distribution format because it would destroy its strategy of re-selling them every seven years in theaters.

However, after putting in rent a few titles in the early 80’s as ‘Dumbo’ or ‘Alice in wonderland’, in summer 1985 was released the VHS of ‘Pinocchio’ and triumphed tantisísimo that Disney cancelled the re-runs in cinemas and was born the business of film direct to video and sing along. The VHS and video recorders with their carefully reused tapes did not bring about the end of the world either.

Flashforward to 2018. Television via streaming, content providers by catalogue, mobile devices, globalization, and lounges with 4K 55″ televisions and Dolby Atmos sound bars. Has the apocalypse finally arrived?

Reading any interview or talking to any professional in the entertainment industry all agree that Netflix has been a true disruptive factor of traditional business models. The mergers, the entry of technology companies, the bubble of the streaming platforms, the production of rampant, the protectionist attitude with the licenses or apps fighting to be the queens of the video on the mobile are some examples of the huge hurricane that strikes the industry.

Viewers, and especially the younger generations, have radically changed their relationship to content. It is no longer just that the vision to the letter that we have been talking about for many years is settling, but that everything has diversified so much that we no longer have to think of producing for a specific place and moment, but of creating content thinking of the individual, of winning the battle for his time no matter how or when.

The potential viewer (and therefore the subscriber or the buyer) turns on the television and goes to the cinema, but also on his mobile, on Netflix and other streaming platforms, on the tablet, on Youtube, on Facebook or on Instagram. And all of them are contained. It is not that less video is being watched; it is being watched more than ever.

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