Radio is Fastest

If you wanted to know what was happening in Moscow as fast as possible last night, your best bet was the radio.

I’ve mentioned before that when a big fixture goes to penalties, I always listen on the radio, because I get the news first. More regularly, if there’s a match that’s both being covered by Five Live and Sky TV, I might have the TV switched on in my lounge, but the radio on in my kitchen. If I hear a goal described on the radio, I know that I can take my time strolling into my lounge to see the goal scored.

This was beautifully illustrated in a Tweet that showed some Brazilian fans watching a game on a big screen, with one fan listening to the radio:

During the England semi-final, at a point of tension, I decided to see what got me news from Russia fastest. Here are my non-scientific findings in order:

Fastest to Slowest

BBC Radio Five Live AM

— ~0.2 seconds ahead of —

BBC Radio Five Live DAB

— ~5 seconds ahead of —

ITV Freeview SD
ITV Freeview HD
ITV Sky HD

(All TV roughly the same)

I didn’t bother with streams because they introduce too many variables based on the technology I’m using, the internet speeds I have, and so on. But I do know that UHD is especially slower than other streaming options. I also noted earlier in the tournament that BBC’s VR experiment delivered video faster than regular iPlayer! (I was, however, completely underwhelmed by the VR experience)

Note that I can’t accurately measure the time because I comparing things I can see myself with things that are being described by a commentator. In other words, radio is perhaps even further ahead than I’m estimating here, since the radio commentator has had to see and describe something before I hear it. On TV, I can simply see the net bulge with a goal.

What’s more, I’m told that AM is deliberately delayed by about a second – perhaps to keep it closer in sync with DAB.

I suspect that the overall delay is closer to 10 seconds for events happening in a stadium and me seeing them on a television. There will be uplinks and downlinks from the venue to the broadcast centre, then more from the broadcast centre to the UK broadcaster’s playout systems. Then that signal too is probably propagated by satellite to many transmitters and direct-to-home satellites. Each satellite “hop” might take 250 milliseconds, and then there encoding and decoding delays to account for. Finally a broadcaster may deliberately introduce a delay to ensure that they can cut the picture in case something happens that they don’t want to show (the equivalent of the “dump” button in many radio studios).

All of this shows that if you want to know what’s happening fastest, radio gets there first.

Is IP TV Really Ready for Primetime?

Last night YouTube TV went down for an hour. That’s not YouTube the platform, but the premium TV service that YouTube offers customers in the US a range of broadcast TV channels in exchange for a monthly fee. The service went down right in the middle of the England v Croatia World Cup semi-final in Russia.

Every time a set of major sports rights comes up for sale, there is more and more discussion about whether a major internet platform like Amazon, Facebook, Google or Apple will be bidding. So far, there have been a few toes dipped in the water. Amazon has a small package of Premier League games from the season after next; Amazon also has ATP tennis in the UK from next year, and has had a few tennis tournaments this year; Amazon has streaming Thursday Night NFL rights, sharing them with free-to-air and pay-TV ; Facebook has bought Premier League and La Liga rights for a handful of Southeast Asian countries.

But at the same time, there are ongoing problems with many of these streaming technologies. In Australia, Optus had massive issues with its World Cup rights as I’ve mentioned previously. They’ve ended up refunding subscribers, and allowing all their games to be shown on free-to-air broadcast TV. ITV Hub has had various issues during earlier games in this World Cup (although I’ve seen few reports for the semi-final last night). Hulu’s stream of this year’s Super Bowl went down towards the end of the game. There are plenty of other examples.

Streaming is hard, and the resources to ensure no breaks are not to be understated. You might get angry if you can’t stream an episode of GLOW on Netflix because something between Netflix and your ISP isn’t working right. The worst that might happen is that you have to wait a bit and watch it later. But that’s not a remotely satisfactory solution for live sport.

If a company the size of Google can still have a major outage during a global event like the World Cup, then you know that this isn’t easy. During the Sweden v England quarter-final, the BBC reported a record 3.8m live streams at one point. And of course, there were also reports that the stream fell over towards the end of the game for some.

It’s notable that for the World Cup, the BBC’s UHD streaming experiment was initially limited, to ensure that those who got a stream weren’t going to be disappointed half way through when too many other viewers caused the whole system to fall over (Of course, viewers would quickly find out that they were well behind other versions of the picture meaning that you could be hearing your neighbours cheering a goal minutes before you saw it yourself).

The same fixture had broadcast viewing figures of over 19m, with many more watching in pubs and at outdoor events. And while we need to be careful about comparing audiences (1 stream does not equal one viewer; they are not measuring exactly the same thing), it’s clear that the vast majority still watch via the more robust broadcast systems. The question is, for how long?

Talk to a TV engineer and you’ll begin to understand why broadcast is still better. The Freeview transmitter network is very robust with built-in redundancy to ensure that TV channels’ signals reach local transmitters. While local transmitters can fail, these tend to be extraordinary events, and their “up time” is high. If the transmitter is working then the only reason you don’t get a picture at home is down to your set-up (e.g. a faulty antenna on your roof). Satellite transmission is also remarkably robust – with perhaps only extreme weather causing picture degradation.

With IP, there are many places that the system can fail. Broadcasters are reliant on large Content Distribution Networks (CDNs) to distribute programming. And that complexity increases with live. Then there might be a local problem with your “exchange”, or even the local fibre cabinet near to your street. Perhaps your the free router your ISP gave you has failed. It can be hard to diagnose, and there are many potential points of failure.

For the most part, service will probably resume quickly. But just how quickly is another question.

I’m not arguing that IP can’t fix some of these problems, or be more robust. But I do think that it’s going to be a significant technical challenge, with many parties involved, and broadcast is better in many respects. From a broadcaster to transmitter might only involve a couple of specialist companies. The pictures arrive faster, and there are fewer places for things to break. One viewer or 30 million viewers? It makes no difference.

On the other hand, some future live event will take the record for streaming again, but these will be more worrying moments as systems are put under bigger pressure than ever before.

I’m not ready to give up broadcast as efficient video and audio propagation methodology just yet.

Marketing TV

If you’re a TV channel and you’ve got a new show you want to tell people about, it should be relatively simple. You make a trailer or two for it, and then you run that trailer around programmes that the audience for the new show are already watching.

You might want to be a bit cleverer than that, perhaps pulling in viewers of less obviously related programmes. Indeed if you’re really clever you might make different trailers to target different audiences.

But for the most part, TV companies use their own channels, which makes a great deal of sense. Or perhaps did. Because as the audience becomes ever more dis-aggregated, it’s getting harder to reach potential audiences. Viewers are spread far and wide, and you can’t be certain that you’ll reach a large potential audience just using your own channels.

It’s instructive that if you visit a big US city like New York, you’ll see advertising for movies and television shows everywhere. When I visited in April, even the city’s bike hire docking stations had advertising for Showtime’s Billions.

TFL Have Missed a Trick

Yes, Times Square has historically been full of movie and TV billboards, mostly elaborate digital screens, but it was interesting to see just how many Netflix and Amazon shows were being promoted. Beyond those, you have bus sides, taxis, and subway carriages. Traditional media. Ads were everywhere.

Times Square Ads

Tourists

Americans

Bosch

Compare and contrast with the UK, where advertising budgets seem more modest. Yes, BBC One advertised Troy reasonably heavily on posters, and indeed their current World Cup coverage (I’m not at all certain that the latter is the best use of marketing spend incidentally). Sky has put significant budgets behind Bulletproof and Patrick Melrose in recent weeks. And ITV and Channel do occasional campaigns for bigger shows. But there’s not the same consistent spend as you’ll see in the US.

Yet even those US spending levels aren’t enough.

A really good piece in The Information explains that although Netflix is upping its spend on marketing alone to $2bn, that’s not always enough to gain cut-through.

The story cites a Netflix show called Disjointed, that they promoted via a pop-up weed store in Los Angeles costing $20,000. I would point out two things from that. Yes, it will have created some local buzz (pardon the pun), but that doesn’t particularly do anything much for viewers outside of the Los Angeles area. Secondly, the marketing had zero impact outside the US. I like to think I pay reasonably close attention to the television landscape, and have never heard of this show, even though it had a big star in Kathy Bates! That $20,000 might have been better spent on regular advertising.

It’s also worth noting that the story compares Netflix’s $2bn spend with CBS’s $246m. The difference, though, is that the former is spending across the globe, while the latter is mostly spent in the US.

Netflix today has dozens of original films and series that I simply know nothing about. Unless I’m willing to watch a trailer to learn what a title I’ve never heard of is about, then they are heavily reliant on traditional routes to media. That could be sending stars onto the promo circuit, or just word of mouth. But as the volume of production intensifies, things are much more likely to get lost.

Even a couple of years ago, a die hard Netflix viewer would probably have been able to name most of their big dramas. Today, I no longer think that’s possible – assuming you’re not an industry exec with a professional interest.

“The most common complaint I hear from fellow Netflix showrunners is that they would make a great show, and no one would know that it was on,” said a creator whose show is currently being produced by Netflix.

I don’t know what the answer to Netflix’s problem is, with their vast number of productions, from all over the world, fighting to break through. But I do think some British networks need to probably invest more in off-network promotion.

Sexist Coverage of the World Cup

No, I am not talking about Patrice Evra’s applauding of fellow ITV pundit and England footballer Eniola Aluko (nor his muttered “no clapping” moan in a subsequent match).

Nor am I talking about the various people who are upset that women deign to commentate on a football match.

(Incidentally, “Remote Controller” in the new issue of Private Eye needs to take a long hard look at himself)

No. Instead, I want to talk about the coverage itself. As I mentioned previously, this tournament is covered on behalf of FIFA by Host Broadcast Services, who provide the pictures that every broadcaster takes.

Basically, it’s pretty sexist.

Let me explain why. I don’t have the demographic breakdown of ticket buyers for the World Cup, and I don’t doubt that it’s a mixed crowd. However, I would argue that it’s predominantly male. There are definitely females there. How many I couldn’t guess. But I would need strong convincing otherwise to be persuaded that there weren’t more males than females in the crowd.

But you wouldn’t necessarily know that from the TV pictures. The TV cameras, when they show close-ups of people in the crowd, are as likely as not to show a women. Probably quite an attractive woman. Failing that, it’ll be a child. But mostly women. They might be wearing the team shirt, and perhaps have face paint on or be adorned with flags. But they will be a woman.

Essentially there are one or more camera operators during each match whose job seems to be to find the prettiest, most colourfully dressed people in the stadium, and put them on camera for the world to see. It’s utterly blatant.

It gets worse. Danny Baker related on one of his radio shows that when he was in South Africa for the 2010 World Cup he happened to sitting near a women who featured on the coverage. She was a paid model, and, he recalled, she had been alerted in advance when she would be on camera so that she was whooping and cheering when they cut to her.

Is FIFA still populating the crowd with models who’s job it is to look pretty for the cameras? I don’t know. But I do find the coverage objectionable. I might not especially want to see a shirtless beer-bellied supporter in particular, but that might be a more accurate representation of the crowd. This does seem to be a FIFA problem. You don’t tend to see it Premier League coverage, and nor does it seem especially prevalent in UEFA Champions’ League coverage. But who would have thought it? FIFA seems to have retrograde view of the game that they want to spice up.

As it stands, it feels very creepy – a long lens camera scouring the ground for pretty girls to zoom in on. It’s the sort of thing the Daily Mail does on a hot day.

There are also some tell-tale giveaways. If the crowd member is wearing a lanyard of some description, then they’re probably a VIP. Perhaps they have tickets via a sponsor. They almost certainly didn’t go into some national federation’s draw for tickets.

I’m not saying FIFA is the worst. Formula 1 might have got rid of “pit girls,” but too many cycling events still have “podium girls” who have to give winning riders a big kiss. For the Giro d’Italia, they seemingly have to apply a particular kind of lipstick guaranteed to leave marks on a rider’s cheeks.

Even worse is the Indian Premier League. The crowd shots there seem to exclusively be of the wealthy cricket-goers in the executive levels. Lots of glamorous men and women do that usual feigning of wanting to be on screen, while you know they love it. Rarely do cameras head higher up into the stands where the cheaper seats are, unless a six is landing in that section.

Worse still is the fact that they employ cheerleaders. This does not sound like the most edifying experience from comments made in 2015 AMA conducted by one of the dancers.

“I hate the racism. Why is my team made up of 99% white girls? Why do Indians feel it’s ok to dress white girls up in skimpy outfits but they won’t let their fellow Indian women do it? It’s messed up.

“I’ve asked my managers [about why no Indian girls as cheerleaders] and they don’t know. I’ll keep asking around, though, because I’m curious too. They could probably just get good dancers and train them; there’s no shortage of those.”

Sexist and racist? At least the latter is, thus far, missing at the World Cup, and FIFA hasn’t, to my knowledge, suggested adding cheerleaders to the mix.

But let’s stop the leering crowd cameras. Show us regular fans cheering or sobbing (but skip the kids doing that please). And leave the models at home.

Empty Essex

Empty Essex from Adam Bowie on Vimeo.

Empty Essex is the name of ride in Jack Thurston’s excellent Lost Lanes book (NB. The first one. There have been two others since, for Wales and the West Country). The route starts in Southminster in Essex, heading out to Bradwell-on-Sea and past the St Peter-on-the-Wall chapel on the Dengie coast. The route goes offroad around the northern tip of the peninsula, past the now decommissioned Bradwell Power Station (although it may be redesigned and recommissioned in the future).

The route runs along the mouth of the River Blackwater, and the area is popular with the sailing community. Then it heads south passing through Southminster before reaching the southern part of this coast at Burnham-on-Crouch. From there, it was the train back.

This video was shot with a combination of my DJI Mavic Pro drone, and my Garmin Virb Ultra 30 camera mounted on my bike.

Note that there is an off-road part of this ride, meaning that thoroughbred racing bikes are not suitable. Something like a cyclo-cross bike, mountain bike, touring bike or hybrid will be much better. It’s a fairly flat route since, as the video and photos show, it’s a flat part of the world. On the other hand, you do have to face wind. It’s not for nothing that there are on-shore and off-shore windfarms all over the place.

As well as the photos below, there are more over on Flickr.

Google Podcasts

Without an enormous amount of fanfare, Google yesterday launched Google Podcasts for Android yesterday, with the possibility of being game changing. I’ve long argued that for the Android/iOS podcasting gap to be closed, Google needed to get involved and create a generic app.

Apple Podcasts is a pre-installed app on every iPhone sold, and with strong backing of podcasts from the outset via the iTunes store, Apple users have consumed podcasts at a far greater rate than Android. Even today, with iOS share slipping slightly, the proportion of podcasts consumed by iOS devices is massively out of kilter with smartphone ownership. In most countries in the world, there is a higher Android user base than iOS.

All of this means that, unless we somehow infer that your choice of smartphone is a strong indicator for how you listen to audio, then there is a massive untapped Android market out there.

Previously Google has only played a little in the podcast arena. They added podcasts to Google Play Music. But only in the US. And podcasters themselves had to add their podcasts into Google Play Music themselves. A combination of those two things meant that that ex-US podcasters who wanted to list their podcast with Google had to go out of their way to employ VPNs to even get their podcast registered. Furthermore, Google Play Music cached audio meaning that podcasters couldn’t see a comprehensive picture of their podcasts’ performance across a range of platforms. Furthermore, newer technologies like dynamic advertising wasn’t possible. The advert baked into the podcast when it was captured by Google remained there in perpetuity.

Google just wasn’t taking podcasts seriously. But that was obviously changing and when Pacific Content published their series of articles on Google’s new podcasting drive earlier this year, things Google had been doing began to come to light. Although the scale of podcasting continues to grow, with more people and organisations releasing more podcasts, and more revenues being derived from them, it was perhaps the growing importance of audio to Google itself that has really pushed things along. Google’s Home and Home Mini devices have been massive sellers, with the company locked in a battle with Amazon’s Echo for grabbing market share in Voice (Despite Apple’s Siri being first to market, Apple is playing a massive catch-up game in this market).

Voice control has come to be an important way we interact with technology with both our phones and our devices in our smart homes. Machine learning has meant that voice comprehension and contextual analysis has rapidly improved. And from there music and speech are perhaps growing in importance. So podcasts fit in neatly.

All of this explains why Google’s new podcast app, isn’t actually an app at all. It’s really a view of Google Assistant. For quite a while now, you’ve been able to ask your Google Home device or your phone to play a podcast. This “app” therefore just makes this a little cleaner.

In fact the app is actually pretty basic. The average podcast app you can download on the Play store is likelier to be much better featured than Google Podcasts. Even something as basic as downloading podcasts for offline listening – the absolute bare minimum you need for any podcast app – requires you to change permissions in a truly bizarre way. Instead of getting a pop up permissions dialog box as you’d expect from recent Android iterations, you’re taken to a user-unfriendly App info page where you have to choose Permissions and then turn on Storage. It really isn’t very obvious, and I suspect many will fall at the first hurdle.

The rest of the app is very basic. The “Top Podcasts” are all very obvious and popular US ones: This American Life, Serial etc. And then all the usual suspects are in each of the category selections. The only two non-US podcasts I saw were the BBC’s World Cup Daily and The Guardian’s Football Weekly podcast. There was a Five Live section for me, which may have been because I subscribed to a Five Live podcast through the app in testing.

Now to be fair, this isn’t necessarily a terrible idea to highlight the podcasting big hitters. If you’re just discovering podcasts, then you probably want to listen to all the favourites. And equally, I don’t really know of any app that is very smart at selecting podcasts for you. Indeed, for all it’s revered elsewhere, I find even Netflix misses much more than it hits with selections for me.

Obviously a key benefit that Google Podcasts does have is that if you start listening on, say, your Google Home Mini and then leave your house and listen via your phone, you can carry on where you left off. But in the time I’ve tried the app, I’m unlikely to leave PocketCasts as my podcasting app of choice, which also lets me move between phone and its desktop web app. For smart speakers, I tend to use Cast to keep things in sync and stay on top of which episodes of which podcasts I’ve listened to. It has other much deeper functionality that Google’s offering lacks. This is probably purposeful on Google’s part, and other app developers will probably be relieved.

None of this is to say that Google Podcasts isn’t very important. Any podcast creators should build links to Google Podcasts as soon as possible, include their badges and generally make sure they’re listed correctly. Podnews has a decent FAQ about what you need to do. At the very least, when people share a podcast socially, they can now include a Google URL as well as an iTunes one (NB. They should still really share a link to a website where a range of options are available including the podcast’s unique RSS feed).

However, I’m not sure this is going to be quite the game changer it might have beene. I don’t see the app being pre-installed on phones, and I suspect that most of those who’ve installed already are those who are already very familiar with podcasts. Yes, it’s true that the podcast functionality will be pre-installed in that it forms part of Google Assistant. But it’s not clear that Google is pushing a page as a destination, in the way you might go to the YouTube homepage to see what new videos have been published, or you would open Spotify to purposefully listen to music.

That said, podcast usage is going up – there are some good global numbers in the most recent Reuters Digital News report (Interestingly, the UK is at the lower end of the range with 18% listening to podcasts a month. In South Korea for instance, it’s 58%!), and this initiative can’t but help drive that listening upwards.

One really interesting area Google is planning to tackle is the idea of creating subtitles (or captions) for podcasts using Google’s AI. Relatively few podcasts have transcripts of their programmes, and that makes searching the content within them very hard. If Google can auto-create these, as it does for many YouTube videos, then that makes the power of its search that much better even if the original podcast doesn’t have good meta-data. Users could jump straight to relevant section within a podcast. However this does raise questions of accuracy, and perhaps more so, intellectual property in ownership of those virtual transcripts (Cf All the arguments surrounding Google’s book-scanning initiatives). That all said, I’m unaware of anyone raising those issue with YouTube videos.

In summary then, a good first proper move by Google. They’re going to treat podcasts as essentially search assets, but using their Assistant to ensure that you keep track of what you have and haven’t listened to. However, I wouldn’t expect a significant overnight increase in the number of podcasts served. But podcasting overall continues to see steady growth, and this will undoubtedly help.

Televising The World Cup Around the World

Two media stories which have interested me a lot about the World Cup so far.

In the UK, we’re fortunate to still have Ofcom’s Listed Events. This is a list of sports events that are considered national events, and must be available to audiences free-to-air. Despite various attempts to either redefine the list, or scrap it altogether, the list is still in place.

What that means is that if a broadcaster wants to buy the rights to the World Cup, they have to make it available to everyone. That essentially prevents Sky or BT from buying them – at least unless they also used Freeview space to broadcast the games. Hence the BBC and ITV share the rights to big tournaments such as these.

But while Listed Events are common in Europe, elsewhere in the world they are less common. Here are two stories about markets where there have been problems as a result.

Saudi Arabia

The Saudi Arabian national team may not have covered themselves in glory during their 5-0 defeat in the opening game in Moscow, but of course there remains high interest in the team and the tournament as a whole back in Saudi Arabia. This is the first appearance for the country since 2006.

However, across the Middle East and North Africa, BeIN Sports has the rights to the tournament. BeIN is the Qatar-based sports broadcaster that has been growing in size in recent years both in the Middle East and beyond. And this time around there are no fewer than four North African teams in the tournament: Saudi Arabia, Egypt, Tunisia and Morocco.

This is where politics gets involved. As you may be aware, Qatar is currently facing a blockade from some of its Arab neighbours. Notably these countries cutting off diplomatic relations with Qatar include Saudi Arabia and Egypt.

I’ll let others get into the whys and wherefores of this dispute, only to point out that it’s now been going on for a year. But of relevance to football, this affects access to BeIN in some of those countries.

Egypt had been demanding access to at least some of the games, arguing that the fees that BeIN was charging were beyond many Egyptian’s means (US$90 for the tournament plus an $89 decoder if they don’t already have one). BeIN did eventually agree to make 22 games free to air.

Meanwhile, a new station has appeared on satellite – BeoutQ. It’s essentially taking a pirate feed of BeIN Sports and rebroadcasting it on satellite TV, even going so far as to put its own logo over the top of BeIN Sports pictures:

FIFA is obviously upset about this.

The problem is that the Qatar blockade has prevented the import of BeIN decoder boxes into states like Saudi Arabia, and essentially the population is prevented from subscribing to the channel. The same has been true in the UAE, although the difficulties may have been eased a little of late with existing subscribers being allowed to continue. That doesn’t help new subscribers however.

I’ve no doubt that if you know who to talk to, there are ways and means around this, but for the average viewer, watching the World Cup has suddenly become a lot harder.

You might think that operating a pirate satellite channel isn’t that easy. It’s not as though you can put dodgy gear on the rooftop of a high-rise. You need to up-link to the satellite from an official site. BeoutQ is carried on Arabsat, which is a Saudi company. You might infer then, that’s some kind of official support for this piracy. I couldn’t possibly say.

FIFA’s probably between a rock and a hard place, having sold the regional rights to BeIN, but I don’t have an enormous amount of sympathy for them. They sell rights for the maximum they can get, regardless of reaching as many viewers as they can. And whatever they claim, I seriously doubt that a lot of that cash is being reinvested in football around the world.

In the meantime, I’m told by colleagues that Arabic websites are full of links to VPNs and various European and global sites that offer streams of World Cup games.

[UPDATE] It seems that it’s not only FIFA that’s annoyed about BeoutQ. UEFA has weighed in now, since the channel has been illegally rebroadcasting the Champions’ League. And now F1 is getting upset because their output is also getting rebroadcast.

Incidentally BeoutQ seems to be a whole package of 10 HD channels sitting on the Badr-4 satellite operated by Arabsat. And the link to the UEFA story above shows a business with full retail packaging selling decoder boxes to receive the channel package. Lots more in this NY Times story.

Australia

In Australia, the public broadcaster SBS held the rights to the 2018 World Cup. But public broadcasters like SBS have been under financial pressure, so in 2016 they did a deal with telecoms provider Optus. Optus held the rights to English Premier League games, and would sub-licence one match per week to SBS. SBS in return sub-licenced 39 of the 64 World Cup fixtures for 2018 exclusively to Optus. SBS itself would only broadcast 25 games over the air, including all Australia’s fixtures and the final.

Optus in the meantime, sold access to their exclusive games to Australian viewers for AUS$15 a month.

Things have not gone well.

It seems as though the infrastructure that Optus is using is unable to cope with Australian demand, and subscribers have had to put up with constant buffering and other issues.

Optus have said it was, “Unprecedented demand,” that has caused the problem. Although as many have pointed out, the World Cup is the single most popular sports event in the world, so demand was probably not likely to be “Unprecented.” And it’s not as though Aussies are exactly disinterested in sport.

As a stop gap, SBS is now showing all the games in the tournament for 48 hours while Optus tries to fix their problems. Whether that’s enough time to get things right is another question. If there are fundamental technology problems, then those will take longer to fix. In the meantime, questions are being asked in the Australian parliament.

As an aside, it’s an ongoing story that big audiences and streaming always cause failures – at least first time around. If England gets through the group stage, then ITV has the first knockout stage exclusively. I hope the ITV Player is robust…

[UPDATE] It turns out that 48 hours is not enough time to fix underlying IP streaming issues, and SBS is showing all the remaining group games. Will Optus have fixed things by the time the knockout stages start? Hmm.

[UPDATE 2] And SBS will now be broadcasting the rest of the World Cup as well. Eat humble pie time for Optus.

The Complications of Streaming

I was as disappointed as many fans were when SF series, The Expanse, was cancelled by SyFy in the US a couple of months ago. Outside the US, the show airs on Netflix (on a six month delay), but it was Amazon that revived the series. Non-US viewers like me were left wondering whether Netflix will continue airing a show that Jeff Bezos himself is said to be a fan of.

Today comes news that Fox show Lucifer has been saved. Fox had cancelled the show that was also shown on Hulu in the US. This time it was Netflix that has come in to save the show. Yet in the UK, Lucifer seasons 1 to 3 have aired on Amazon.

So in the UK we’re left with a Netflix show saved by Amazon, and an Amazon show saved by Netflix!

Now it’s never quite that simple, and rights will often reside with various production bodies. What’s more, Netflix and Amazon might well have done “run of life” deals with the intellectual property owners of those series. For example, when Longmire was saved from cancellation by Netflix in the US, it never reached Netflix UK. Instead, the series made by Warner Horizons, continued to air on TCM.

It’ll be interesting to see whether these saved series continue where they have been airing, appear split between streaming partners, or quietly switch sides and move to the other platform.