Prime Video hosts other channels to stand apart.

The introduction of SkyShowtime to Prime Video makes it abundantly clear what Amazon intends to do.

It was announced by Amazon Prime Video, the streaming platform owned by Amazon, that beginning on July 1st, SkyShowtime, which is owned by Universal and Paramount, will be available as one of the pay channels on Prime Video. This is going to be the case in four different European regions, namely Spain, the Netherlands, Poland, and Sweden, and the monthly cost will be 7.99 euros. Customers who subscribe to Prime Video during Prime Day, which will finish on July 17, will also receive a discount of fifty percent for a period of three months.

This is the World Channel. By doing so, Amazon is able to add a new offer to its already extensive library of other channels, which are referred to as Channels. Customers have the option to contract for those channels for an additional charge. At the beginning (beginning in November 2020), Amazon Channels included offers that were not available outside of Prime Video. The most notable examples are MGM+, which features a Metro Goldwyn Mayer collection, and AMC+, which has a similar orientation to its American cable equivalent. Acorn TV, Hayu, Stingray Karaoke, Dizi, Hopster Learning, Pash, and Real Crime were some of the supplementary channels that were added to them. Each of these channels covered a distinct category of programming, such as karaoke, children’s or youth content, or true crime.

Max and Skyshowtime have arrived at this instant. However, in addition to all of them, some of the Channels that Prime Video has been adding have a life outside of the platform, which is what makes Amazon’s offer something distinct from what it initially proposed. To give just two examples, there is the Spanish Planet Horror, which has been specializing in horror films since 2021, and FlixOlé, which has been concentrating on Spanish cinema since the same year. After what seemed like an eternity, on June 11, 2024, which is less than a month ago, Max was finally listed as one of the Channels. The service was also made available in nations such as France as part of an expansion that took place across Europe, which included this debut.

The activities of the rival company. In this manner, Prime Video is able to include its strategy of competition with the other platforms into its overall strategy. Up to this point, we have observed that the bulk of them are supported by exclusive material (which is the most valuable asset that Max, Netflix, or Disney+ has) as well as special licenses for content that is provided by third parties. Disney also occasionally engages in this practice, and Netflix has been doing it ever since it was founded, releasing films and programs from all over the world in order to keep up with its unparalleled pace of releases. For instance, the last season of “What We Do in the Shadows,” which has been available on Max for a full year, will make its debut in the month of July. This is a strategy that is also giving a significant portion of Warner’s archive to platforms that are more insatiable, such as Netflix.

Formula that is mixed. The platform that Amazon uses falls somewhere in the middle of the spectrum. It continues to have exclusive series that have been so successful, such as “The Boys” or “The Rings of Power,” and of course, it licenses a considerable part of its collection from third parties (its selection of classics and cult films is far superior than that of all of its competitors, with the exception of Filmin). On the other hand, it also possesses this kind of themed channels, which occasionally allude to genres (ranging from children’s to true crime) and at other times collect content from producers such as MGM or ACM.

Offerings that have been accumulated. After that, we have Max and Showtime. The addition of Max to the Prime Video Channels a few weeks ago, as well as the addition of SkyShowtime, brings Prime Video closer to the platforms of telephone providers like Vodafone or Movistar Plus+ (who, in fact, already had Max and Showtime in their catalog) than it is to its traditional competitors. Before, we already had thematic subchannels; today, we have direct competitors within them (which, unlike regular channels, can still be contracted independently by their own accord). A shift in Amazon’s strategy that gets it closer to a repository of possibilities to produce “a la carte” streaming (with a basic bundle and then all the extras that you want to add) than it does to a standard streaming platform unquestionably brings it closer to the latter. Differentiation is truly a value, beyond a shadow of a doubt.

At the same time that new services such as Disney Plus, HBO Max, and Apple TV Plus are rushing ahead to satisfy an unquenchable customer demand for streamed viewing options, firms that provide streaming video on demand (SVOD) are actually flooding into the market. Amazon Studios, the production arm of Amazon Prime Video, appears to be especially anxious to distinguish itself as distinct from its subscription video on demand (SVOD) competitors. While each service finds methods to define its value proposition and differentiate itself in a competitive market, Amazon Studios stands out as particularly willing to do so.

Co-chief operating officer and head of television for the company, Albert Cheng, emphasized this point in a statement that was recently sent to the Television Critics Association. According to Cheng, “We are operating under a different business model.” He continued by stating that the organization is exclusively focused on Amazon Prime members, and as a consequence, he and his colleagues select material that will, ideally, support the maintenance of existing subscriptions as well as the acquisition of new subscriptions. Because the purpose is so explicit, it is clear that the company is not attempting to compete with other SVOD providers that appear to be functionally equivalent.

Jennifer Salke, the CEO of Amazon Studios, has emphasized that the company is not a distinct SVOD corporation but rather an arm of the retail giant, and that viewers and subscribers are considered to be clients of Amazon. According to her, “We really try not to pay attention to the competition,” and she emphasizes that Amazon customers are her audience, and that their requirements are what shape her ambitions and influence the decisions that Amazon Studios makes regarding production.

Netflix, on the other hand, is a company that is structured exclusively on the model of a streaming service, and the only product that it generates and supplies is material that is consumed through streaming. Its unique set of measurements that are centered on the audience serves as the foundation for both its criteria for admitting new material and its decision-making process over the long run. Amazon Studios, in contrast to Netflix, bases its production decisions on two distinct variables that are not burdensome for competing services: What strategies will be implemented to increase the number of Prime subscribers or to find new Prime audiences?

What does it mean for individuals working in the industry that Amazon Studios has chosen to differentiate itself? The answer is straightforward: the key to successfully establishing a project at Amazon Studios is to identify and fulfill its one-of-a-kind new content criteria in comparison to other services that are founded on the traditional subscription video-on-demand (SVOD) model.

Prime Video hosts other channels to stand apart.

The introduction of SkyShowtime to Prime Video makes it abundantly clear what Amazon intends to do.

By b0oua

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