In this week’s Brand Publishing Briefing:
- Netflix’s Tudum event had 78 million views across platforms – a good example of how brands can use live events as content fodder.
- As more brands launch publications, thorny issues around disclosures and transparency are beginning to crop up.
Netflix’s ‘Tudum’ event draws 78 million views
In a post-pandemic era, physical events are becoming popular again for brands, particularly as live expressions of their publishing initiatives.
Netflix said its Tudum event – held in person for the first time following two years of virtual gatherings – drew a total 78 million views across platforms on Saturday. That’s an 86% increase in viewership from last year’s 41.8 million views, and up 203% from 2021’s 25.7 million views, reports Variety.
The event brought together Netflix stars from across the globe, including “Never Have I Ever” star Maitreyi Ramakrishnan, who co-emceed the event, a host of talent from an Indian adaptation of “The Archies,” and “Heart of Stone” star Gal Gadot. It included announcements, trailers and footage from upcoming projects.
The entire three-day event was live-streamed across social media and video streaming platforms including Facebook and on the Tudum site. The live version, taking place in Brazil, saw over 25,000 attendees attend to watch announcements and meet stars in person. In an interview, CMO Marian Lee said this is not about a revenue stream but a new way to connect with the Netflix audience beyond its core product – an extension of marketing activities. “This has been such a fun part of marketing our shows and getting to really think about our shows and movies year-round, instead of just in that promotional window.”
Netflix’s content approach includes, of course, its fan publication, also named Tudum, and other content products like its print magazine Queue. The company also has a thriving slate of podcasts that go behind the scenes of its shows, as well as a number of content sub-brands like Golden, Strong Black Lead and Con Todo, designed for different audiences.
How should companies disclose the nature of their relationships with publications they own or finance, and how prominent should those disclosures be? Those questions are increasingly being asked by readers and legal experts alike as a growing number of companies launch their own publications and media arms.
Some consumers say the connections between brand-owned publications and the companies behind them are not always made clear, potentially confusing audiences about who is ultimately paying for the content they publish. But from a legal perspective, the differences between editorial and commercial content remain ill-defined, experts say, making it difficult to establish what disclosures may or may not be required by law.
As more companies produce content and launch standalone editorial entities, it’s becoming increasingly unclear “when a piece of content is advertising or not, and – if it is – what kind of disclosures need to be made,” according to Robert Freund, who runs a law firm that works with e-commerce brands, marketers and talent agencies. “The [legal] line between commercial and editorial is not clearly delineated,” he said.
Also worth noting:
- Nativo launched a new suite of tools designed to help brands use generative AI to to launch brand content campaigns. It suggests headlines, preview texts, content phrasing and more.
- Clash of Clans won the inaugural Cannes Lion Grand Prix in the “Entertainment for Gaming” category this year. (It also took home the Grand Prix in branded entertainment.) The campaign included a 20-minute documentary designed to convince people it was turning 40 years old.
- WordPress’s newsletter product will now support paid subscriptions and premium content, a new contender in the newsletter tools race.