Over here at Goggler we’re keen observers of both content as well as the platforms that produce and distribute it. And while we’re truly living in what feels like a Golden Age, the current state of streaming has resulted in an incredibly fragmented marketplace, with most of us unsure as to how and where (and whether or not) to spend our money. There is great content available on every platform, and being able to access all of it can break the bank. (Almost every streaming service has raised their prices over the last couple of years.) How then do you pick and choose? Paying just for Netflix means you won’t get to see any of the cool new Marvel shows that everyone is talking about. Picking Disney Plus Hotstar leaves you confined to their walled garden of classic cartoons and franchise fare.
It is a real dilemma that has pushed consumers in one of two directions.
1) The more ethical among them cycle through a variety of streamers, subscribing to one service when they want to watch something in particular, before switching over to another one when the next billing cycle begins.
2) Piracy. Between torrents and cheap Android boxes, it is still incredibly easy to access pirated content. We have definitely seen an increase in piracy among Malaysian consumers since the pandemic. A poor exchange rate, combined with fear of an economic recession, have made Malaysians a lot more discerning with how they spend their money. They still want their entertainment, but they’re also perfectly happy to not pay for it. Direct to digital movies and shorter theatrical windows also means easier access to high quality pirated content.
One recent solution has been to bring back some old ideas. It looks like the disruptor didn’t end up disrupting all that much, with cable and satellite TV providers suddenly back in the game as streaming service aggregators. Sure some things have changed – we can watch on-demand and cancel with ease, programming is global, and we don’t have to watch ads if we don’t want to – but it is ironic that the dreaded cable bundle lives on.
Another solution has been to focus on growth markets like us. With subscribers in the United States in decline, streamers have started looking to our part of the world in order to make up lost numbers. They’re broadening their content acquisition strategy. They’re investing in local talent and programming. (Prime Video has had some success with this in India.) They’re hoping to catch that Korean wave.
Which brings us to Disney Plus Hotstar and why we think they might be the streamer to watch in 2023. (Just to be clear, we mean “watch” as both a growing platform and one with content that we’re looking forward to.)
What Sort of Subscriber Are You?
But first, a simplistic (but accurate) take on which service appeals to which consumer. Netflix is for those who want a little bit of everything. Apple TV Plus is for the discerning viewer who is looking for quality content. Ditto with HBO. You pay for Viu if you enjoy K-dramas. Prime Video and BBC Player appeal to niche tastes. And then there are the nine or so people who actually signed up for Lionsgate Play.
The general consensus is that you subscribed to Disney Plus Hotstar if you were a parent looking for family friendly fare, or a fanboy/fangirl of Marvel, Star Wars, or Pixar. It is a perception that Disney is looking to change.
Back in November, we had the opportunity to attend Disney’s Content Showcase in Singapore where we were completely and utterly overwhelmed by a barrage of announcements regarding (almost) every new piece of content they were rolling out. There was Marvel stuff, and Star Wars stuff, and Pixar stuff, and Avatar stuff. There was even Indiana Jones stuff. The most exciting news, however, was all the stuff that wasn’t Marvel, or Star Wars, or Avatar, or Indiana Jones.
The Indonesian, Japanese, and Korean originals that were bolstering Disney’s content lineup looked fresh and interesting. From a Japanese psycho-thriller about cannibals and some great new anime titles, to a whole slew of K-pop documentaries, to Indonesian remakes of Doctor Foster and Call My Agent, to legendary director Takashi Miike’s first foray into television.
Now what Disney is doing isn’t novel. Netflix and Viu have used local and regional content as a way to entice subscribers for a long time. We have no idea whether or not it’s worked for them, but what Disney can do is learn from their missteps.
Some Recommendations
Be smart about Korean content. The runaway success of Squid Game has everyone and their uncle looking to Korean content as a sort of panacea. The problem, however, is that they seem to be learning the wrong lessons. Squid Game was huge in the way that Game of Thrones was huge. Yes, it brought in a whole new audience, but it didn’t necessarily mean that they were going to stick around. Game of Thrones fans didn’t suddenly become fantasy fiction fans. Squid Game fans weren’t suddenly born again as K-drama fans.
Quality over quantity. To that end, Netflix’s strategy has simply been to acquire as much Korean content as they can. There seems to be little to no quality control (See: Carter, Seoul Vibe, Money Heist: Korea, etc.), just the blind hope that some of it might stick. For now, Disney seems to be taking a leaf from Apple TV Plus by not allowing the algorithm and their marketing departments to lead the way. It feels like there is a human hand at work here, actually curating this content based on judgement and good taste as opposed to just what’s trending.
Avoid the content churn. While there is already a large amount of content churn with Disney and their numerous IPs, they have nevertheless managed to maintain a certain quality with their output. (See: The Mighty Ducks: Game Changers, Doogie Kamealoha, M.D., Monsters at Work, etc. National Treasure: Edge of History is a rare misstep that is genuinely awful.) There is however a risk in thinking that consumers want more bang for their buck, and that means churning out more content. We don’t want more. We just want better. Give audiences better.
Think local. But actually think about it. The same logic applies to local originals. Disney shouldn’t invest in Malaysian content for the sake of it. There is an opportunity here for Disney to stand out by championing new and interesting work that is fun, clever, even challenging. (Ada Hantu was a very good acquisition. J2: J Retribusi was not. And the less said about Zombitopia the better.) God knows we don’t want to pay a subscription to watch the same garbage that’s been shoved down our throats on terrestrial networks for decades. Netflix, for example, doesn’t practice any judgement whatsoever when acquiring local TV and movies, making them nothing more than a dumping ground for middling content. The term “Netflix Original” used to carry with it a certain expectation of quality. Not any more. It’s a blunder that Disney would do well to avoid.
Promote. Promote. Promote. Disney Plus Hotstar need an actual strategy with regards to announcing their releases. (It’s a good start to just announce them in general!) Critically acclaimed and globally celebrated content like The Bear, The Menu, and The Banshees of Inisherin all appeared on Disney Plus Hotstar without a peep. Mere awareness that they carry these titles will go a long way to changing the perception that the service just caters to families and fanboys/fangirls.
Some Predictions
Unifying the brand. We don’t know when it’ll happen, but we’re pretty sure that it’s just a matter of time before Disney begins to consolidate its brands under one banner. They recently rolled out a single login system across all of their online services, so logic dictates that they should also ditch the “Hotstar” and use the “Disney Plus” brand globally. Here in Malaysia, we can only hope that it means we get the actual high end app and not this third world substitute that we’ve been saddled with.
Streamlining access. At the moment, the offerings on Disney Plus Hotstar are something of a hodgepodge of content from Disney and Hulu, with a little bit of Twentieth Century Studios and Media Prima thrown in for good measure. We’re still not sure how they decide which Hulu Originals and FX shows make it to our shores, but we think that unifying the brand will result in a more predictable and reliable release schedule.
Why Is Disney Plus Hotstar the Streamer to Watch in 2023?
Netflix’s new ideas seem to be limited to introducing ad tiers and cracking down on password sharing. We’re not sure what new form HBO Max is going to take. Apple TV Plus is bolstering their winning formula with the addition of sport. And Prime Video seems to be split between being all in on The Lord of the Rings and targeting middle America with shows like Jack Ryan, The Terminal List, and Reacher.
We think that Disney Plus Hotstar is the streamer to watch for 2023 because we’re excited at the prospect of a 100 year old company that’s trying to be more nimble, that’s not averse to experimenting, and that’s seemingly learning from previous mistakes and adopting best practices in order to move forward.
The world of streaming is still very much the Wild West. William Goldman continues to be right. Even here, “nobody knows anything.” It’s all about taking chances and making educated guesses. And we’ll be curious to see how Disney’s choices pay off.
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