Disney Feb. 7 reported revenue of more than $1.63 billion for its “Content Sales/Licensing and Other” business segment in the first quarter, ended Dec. 31, 2023, which was down 38% from revenue of $2.65 billion in the previous-year period.
The segment, which includes Disney’s produced and acquired content that it markets through various channels such as theatrical, home entertainment, TV and subscription video-on-demand distribution, posted an operating loss of $224 million, compared with an operating loss of $1 billion in the prior-year period.
The operating loss increas was due to the theatrical underperformance of The Marvels ($206 million) and Wish ($244 million), compared with Black Panther: Wakanda Forever, Avatar: The Way of Water and Strange World with global revenue of $860 million, $2.3 billion and $74 million, respectively, in the prior-year quarter ended in 2022.
Disney no longer reports home entertainment revenue as a standalone business.
Speaking on the Q1 fiscal call, CEO Bob Iger expressed great optimism regarding Disney’s theatrical slate through 2026, which includes Kingdom of the Planet of the Apes, Inside Out 2, Deadpool 3, Alien: Romulus and Mufasa: The Lion King. In November Disney will release an animated sequel to 2016 theatrical hit Moana, which recently crossed 1 billion hours streamed on Disney+, and was the most-streamed movie on any platform in the United States in 2023, according to Iger.
In 2026, Disney will release Captain America: Brave New World, Fantastic 4, Pixar’s Elio, Zootopia 2 and Avatar 3.
“We’re already looking forward to 2026 and beyond with Frozen 3, the first ‘Toy Story’ movie since 2019, a new ‘Star Wars’ movie that brings the Mandalorian and Grogu to the big screen for the very first time,” Iger said.
“These films will not only reach global audiences and theaters, but as we consistently demonstrated, they will become important anchors on our global streaming platforms, driving subscriptions and engagement while also continuing to fuel growth in our experiences business,” he added.
U.S. consumer spending on home entertainment in 2023 reached a new high of $43 billion, according to estimates released Feb. 6 by DEG: The Digital Entertainment Group.
That’s up 16.8% from spending the prior year.
Subscription streaming continued to post impressive gains, rising 21% to top out at an estimated $37 billion, or more than 86% of total spending.
Of the $5.9 billion that was spent on traditional, transactional entertainment, digital sales of movies and shows fared best, rising nearly 5% to finish the year at $2.64 billion. Spending on digital purchases of theatrical titles for the year was up more than 13%, thanks to such high-profile films as Avatar: The Way of Water, Dungeons & Dragons: Honor Among Thieves, The Equalizer 3, The Flash, Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, Puss in Boots: The Last Wish, Spider-Man: Across the Spider-Verse, The Super Mario Bros. Movie and Transformers: Rise of the Beasts.
Digital rentals in 2023 generated an estimated $1.69 billion in consumer spending, less than 1% more than in 2022, while the physical side of the business continued to lose ground. Combined sales and rentals of DVDs, Blu-ray Discs and 4K Ultra HDs came in at just $1.56 billion, a drop of 25.3% from the prior year.
The fourth quarter proved particularly strong, the DEG reported, with total consumer home entertainment spending rising more than 20% from the prior-year period to just over $11.7 billion.
Subscription streaming, as usual, led the way, posting a 24.5% gain to $10.15 billion.
But the digital transactional side of the business also posted healthy gains. Consumers in the fourth quarter of 2023 spent an estimated $713 million on buying movies and shows digitally in both premium and standard windows, up 7% from Q4 2022, while spending on digital rentals rose 11.5% to nearly $410 million. The gains were driven by a strong slate of theatrical movies becoming available for home viewing, with a collective box office value nearly three times as high as the Q4 2022 crop. These include Barbie, The Hunger Games: The Ballad of Songbirds & Snakes, Indiana Jones and the Dial of Destiny, Mission Impossible: Dead Reckoning Part One, Oppenheimer and The Super Mario Bros. Movie. New theatrical releases are historically a key driver of home entertainment spending.
Spending on physical media in the fourth quarter was down more than 20% to a little over $440 million, but the strong theatrical titles pushed spending on 4K Ultra HD Blu-ray Discs up an impressive 15%. Universal Pictures’ Oppenheimer 4K UHD disc, in fact, was in such high demand that several retailers reported shortages, which the studio promptly addressed.
The decline in disc spending in the fourth quarter was due largely to a drastic 50% drop in spending on rentals following Netflix’s late-September exit from the business.
The DEG also reported that AVOD and FAST platforms in 2023 generated $17.2 billion in advertising revenue, according to estimates from Omdia, as more major streamers diversified their offerings to include lower-cost subscription plans with ads. Ad revenue grew by more than 10% in the year, according to Omdia. In the final quarter of the year, according to the research firm, revenue from AVOD and FAST was nearly $5 billion, up nearly 17% from the fourth quarter of 2022.
According to Media Play News Research estimates, of the 13.7% of the home entertainment market space still devoted to transactional viewing at the end of the year, 9.2% was from sellthrough and 4.5% was from rental (both disc and digital). Disc sales and rentals by the end of 2023 accounted for 3.6% of total home entertainment market spending, down from 5.7% at the end of 2022.
Entertainment research agency Enact Insight is launching a global home entertainment and gaming division led by managing director Mark Orne.
In his new position, Orne, who brings nearly 25 years of entertainment market research experience, will provide research solutions, expert analysis, and strategic recommendations to filmmakers, game developers, and retailers.
Orne will report to Greg Durkin, founder and CEO of Enact Insight.
“Mark and I have known each other for the majority of our careers,” Durkin said in a statement. “We respect each other and complement each other well. He brings a tremendous amount of experience in the home entertainment and gaming fields and instant credibility to the division he is leading.
“We’ve tested advertisements for every major theatrical and streaming title released in the past four years, but we’ve largely focused on the first window of release. Mark is the perfect leader to help us promote the holistic success of content across all windows and platforms.”
“I’m excited to join Enact, as they already have a large global presence in all the key entertainment markets,” Orne said in a statement. “Every week Enact is in the field in at least 12 countries, gaining insights from those global audiences to advise entertainment clients on creative optimization, competitive positioning, audience targeting, and viewership estimates across multiple platforms.”
Orne joins Enact Insights after leading the cross platform group at Screen Engine/ASI for more than eight years. As EVP, he focused on IP/Franchise management, title tracking, content development, creative explorations, user experience, play testing, and business development in the home entertainment, streaming, games, and technology markets.
Before joining Screen Engine/ASI, Orne created and led the global consumer and shopper insights group at Sony Pictures Home Entertainment for more than 12 years. As executive director, Orne oversaw reporting on consumer trends, advised on new technology and business development, and led all home entertainment research projects, including intent-to-purchase and creative testing, for SPHE’s DVD, Blu-ray, and digital release campaigns worldwide.
A growing number of studio executives and other industry observers say they believe transactional home entertainment — the traditional, a la carte method of bringing a movie or show into the home, either to watch or to own — may be in the early stages of a resurgence.
The realization that subscription streaming is not sustainable on its own has prompted studios to take a second look at what was once the primary “second window” for movies fresh off their theatrical runs, and the result is that more and more films are being released for digital or physical purchase or rental before they are handed off to the streaming services.
Through much of 2022, as the world was still grappling with fallout from the COVID-19 pandemic, Warner, Disney and Paramount were still releasing the majority of their films to their streaming services on the same day as their traditional home entertainment release. Today, all three studios have brought back windows. New theatrical movies are typically available transactionally several weeks before their subscription streaming debuts.
“It’s about maximizing the content life cycle through windowing, just as it’s always been,” said Bob Buchi, president of Paramount Home Entertainment,
At Universal Pictures Home Entertainment, division president Michael Bonner notes that both The Super Mario Bros. Movie and Oppenheimer “yielded new benchmarks in digital and physical, demonstrating some of the highest transactional performance levels across the business that we have seen this year. The performance of The Super Mario Bros. Movie was especially standout, earning more digital revenue than any other theatrically released Universal movie ever. Results for Oppenheimer’s 4K Ultra HD release were equally notable, currently tracking in its debut window to be Universal’s biggest-selling 4K title of all time.”
David Decker, president of content sales at Warner Bros. Discovery, also said his division “had a successful 2023, driven by Barbie‘s ‘pink wave’ and the health of the WBD catalog, and punctuated by our ‘WB 100th Anniversary’ promotion. We are finishing the year with digital sales up over pre-pandemic levels.”
Given the higher margins of digital releases — and fewer headaches because there are no manufacturing or shipping costs, not to mention returns — studios in 2023 began focusing on making films available for digital sale or rental much sooner than in the past, often at a premium price. This past year has seen a significant uptick in premium video-on-demand, or PVOD, releases, with films fresh from their theatrical runs becoming available to rent or buy at higher prices as early as 18 days after their big-screen debuts before the price is lowered to the standard transactional price of $5.99 for a rental and $19.99 for a sale. Universal Pictures Home Entertainment’s Trolls Band Together, for example, was released Dec. 19 — just one month after its theatrical debut — at a rental price of $19.99 and a purchase price of $29.99. Six days earlier, Taylor Swift: The Eras Tour was released for digital rental only at $19.89, also by UPHE, about 60 days after it opened in theaters — still much shorter than the traditional 90-day window.
Even Apple allowed its high-profile film Killers of the Flower Moon, directed by Martin Scorsese, to be released via PVOD prior to its debut on Apple TV+.
UPHE’s Bonner said 2023 “reinforced our view of the importance of the home entertainment category, led by some impressive title successes across both premium and traditional windows. When studios release titles under a compressed window framework that includes an exclusive home entertainment offering, consumer engagement for transactional formats is very strong.”
Taking Aim at Collectors
The disc business, meanwhile, continues to decline, kept alive by a growing reliance on the collector market and a hope among some for a vinyl-like resurgence.
“Initially, the disc market was driven by families with kids,” said one insider. “Now, the business is being driven by collectors, as evidenced by continued year-over-year growth in 4K Ultra HD Blu-ray sales.”
Still, 2023 was a tough year for the disc business, with total consumer spending this year expected to come at less than $2 billion — less than 10% of what consumers spent on DVDs and Blu-ray Discs in the peak year of 2006.
In early September, Ingram Entertainment, once the largest distributor of physical home entertainment product, announced it is getting out of the DVD and Blu-ray Disc business. “Expenses are exceeding sales [so it’s] time to exit,” chairman and CEO David Ingram told Media Play News. Later that month, Netflix shut its legacy disc-rental business and let customers keep whatever discs they had out. And in October, the Best Buy retail chain announced it would exit the DVD and Blu-ray Disc business beginning in the first quarter of 2024.
But things may be looking up for the disc, which once was such a crucial revenue stream that DVD sales projections were factored into the movie greenlighting process.
The streaming services’ content purge may prompt more consumers to consider a la carte options, studio insiders say. And the tendency of digital purchases to sometimes disappear from consumer libraries — a hurdle in getting more people to shell out $20 for a digital movie — may also drive disc purchases.
Critics contend a primary reason disc sales are in a protracted slump is studio indifference. They say the number of theatrical catalog releases has plummeted in recent years, paving the way for pirates. And while fresh new theatrical films continue to be released on DVD, Blu-ray Disc and 4K Ultra HD, special features are becoming increasingly scarce while quality issues abound.
“The studios have checked out,” said industry analyst Ralph Tribbey, who has been tracking discs sales through his DVD & Blu-ray Disc Release Report since DVD was launched in 1997.
But that’s not entirely true. Paramount continues to create collectible disc offerings for a wide array of titles in its vast and storied library, such as a deluxe anniversary package with hours of bonus content for Titanic, new additions to its acclaimed Paramount Presents line such as Terms of Endearment, and newly remastered 4K Ultra HD releases of classics from Roman Holiday to The Truman Show.
Demand for the 4K Ultra HD Blu-ray release of Oppenheimer was so great that retailers were running out of copies, prompting Universal Pictures Home Entertainment to issue a statement promising to “replenish those retailers quickly so fans can watch the film at home in the best picture quality possible.” Meanwhile, retail-exclusive editions of the film commanded big prices on the secondary market, with Best Buy’s 4K Steelbook edition of the film listed on eBay at an average asking price of well over $100.
And then there’s Walt Disney Studios Home Entertainment, the latest name for The Walt Disney Co.’s home entertainment operation. The division made headlines in August when it announced it is exiting the disc business in Australia. But just days later, Disney announced plans to roll out several of its popular Disney+ series, including “The Mandalorian,” “WandaVision” and “Loki,” as “Collector’s Edition” 4K Ultra HD and Blu-ray Discs in Steelbook packaging.
Since then, Disney has packaged 100 of its animated films into a massive Blu-ray Disc boxed set retailing for $1,500 and issued Snow White and the Seven Dwarfs, the first of its iconic animated classics, on 4K Ultra HD.
WBD’s David Decker says the physical business “continues to represent a meaningful portion of our transactional revenue, and WBD remains committed to the category. We will keep reaching casual consumers and avid fans where and how they want our content: from best-in-class 4K Blu-rays to remastered and re-released films on 4K UHD from our 100-year library of titles.”
Independent film distributors such as Ed Seaman, CEO of MVD Entertainment Group, also see opportunity ahead.
“In disc sales, as studios and brick-and-mortar retailers continue to bail, the opportunity grows for both independent distribution and retail/e-commerce,” Seaman said. “Savvy dealers will pick up more and more great movies and shows and feed the strong demand for the end user, who has a huge appetite for collectible content.”
Keeping the Party Going
Studios have also resumed a practice that subsided years ago when streaming became the dominant form of home entertainment consumption: gala release parties celebrating the disc debut of high-profile new theatrical films.
Disney in January 2023 threw a release party for journalists and social-media influencers to promote the Blu-ray Disc release of the thriller The Menu. The party was held at the Blockbuster pop-up on trendy Melrose Avenue in Los Angeles and included as guests stars Aimee Carrero, Arturo Castro and Mark St. Cyr. Guests enjoyed drinks that they could order by presenting bartenders with an appropriately labeled Blockbuster videocassette box and “well-made” cheeseburgers from Irv’s Burgers, the historic West Hollywood burger stand.
In September, Disney hosted a dance party at the California Science Center in Los Angeles to celebrate the digital and disc release that day of the live-action feature The Little Mermaid.
And November saw two disc release parties. To promote the DVD, Blu-ray Disc and 4K Ultra HD release of Oppenheimer, Universal Pictures Home Entertainment held a screening of a making-of documentary, introduced by director Christopher Nolan, at the Linwood Dunn Theater at the Academy of Motion Picture Arts and Sciences’ Pickford Center for Motion Picture Study in Hollywood. And over in Venice Beach, Disney held a “Haunting in Venice … Beach!” party for A Haunting in Venice, highlighted by trivia for Agatha Christie and murder mystery fans, typewriter poets who wrote on-the-spot personalized poems for partygoers, and sessions with medium Christina Engelhardt.
Lastly, Paramount Home Entertainment in December held a party at Pizzeria Mozza to celebrate the 4K and Blu-ray Disc release of Teenage Mutant Ninja Turtles: Mutant Mayhem. Guests included filmmakers Seth Rogan, Evan Goldberg, James Weaver and Jeff Rowe.
One big development on the disc front that occurred in 2023 is word that Walmart, the biggest physical retailer of DVD and Blu-ray Disc with a market share of 45%, is looking to consolidate distribution through Studio Distribution Services (SDS), the joint venture formed by Universal Pictures and Warner Bros. back in April 2021 to sell and distribute DVDs, Blu-ray Discs and 4K Ultra HD Blu-ray discs in North America. The venture is headed by Eddie Cunningham, a former president of UPHE, a steadfast champion of physical media.
Cunningham is calling for the elimination of the window — typically two weeks — between a film’s digital release and its physical release, a practice instituted more than a decade ago by the studios in the hopes of jump-starting the electronic sellthrough, or EST, business.
“I do think it is time to closely align disc and EST release dates,” Cunningham said. “While it was clearly the right decision to give EST a short window in the early formative, and massive growth, stages of that developing business, both EST and disc are now mature businesses. I would now let the consumer decide how they want to view content in home entertainment. I believe many of studio our partners are looking at this issue objectively and that we will see some significant movement in that direction in 2024.”
Speaking privately, studio executives say the key obstacle to such a move is one of logistics. Since so many new films are being released through PVOD, there simply isn’t enough time to prepare a disc release on the same day. Traditionally, films come to home entertainment about three months after their theatrical bow; with PVOD, the window can be as short as 18 days.
But Cunningham maintains that at the very least the window should be eliminated between a film’s disc and standard digital release, “where materials can be prepared early enough to work through the much more complex compression and authoring, manufacturing, and distribution challenges unique to the disc business.”
Prospects for 2024
Looking ahead, studio executives are looking at the transactional business with guarded optimism for 2024, particularly on the PVOD front.
“We expect that extended studio and retailer support of early availability, in addition to strong consumer demand for accelerated theatrical-to-home releases, will continue to fuel meaningful growth of the premium window, offsetting the decline of physical and delivering significant value to the home entertainment ecosystem,” said UPHE’s Bonner.
“We are seeing strong growth in the transactional marketplace across new releases as well as the weekly and monthly catalog run rate for our own business,” said Adam Frank, EVP of global partner management, sales and distribution for Lionsgate. “The industry is moving away from release-strategy fragmentation as studios prioritize a healthy ‘free-and-clear’ transactional window post-theatrical. This trend should lead to higher engagement from our core transactional audience and an influx of new consumers.”
Paramount’s Bob Buchi agrees. “We know that fans still love to own and collect their favorite films and television shows, which is why we continue to support the physical disc business,” he said. “At the same time, we live in an increasingly digital world so we are exploring some enticing and novel ways to augment both the collectability and gift-ability of digital content. There are exciting developments on the horizon, and just as the home entertainment industry has always done, we will continue to evolve and adapt to changing technologies and consumer behavior.”
Warner Bros. Discovery’s David Decker said that in 2024, WBD is looking to build “on our 2023 momentum. We have exciting new releases coming with titles such as Dune 2, Furiosa (the “Mad Max” prequel) and Beetlejuice 2.”
Decker added that he believes windowing of new releases “is finding its footing. Barbie had one of the biggest premium windows of the year, and the release strategy also helped the film’s historic box office success. We will evolve our strategy in 2024 with more data-driven analysis, working closely with our colleagues at WB Pictures and Max on each individual title. We are relentlessly focused on getting these incredible movies in front of as many people as possible, through the best possible viewing experiences, and at price points that satisfy consumer demands. For us, Barbie said it best: ‘It is the best day ever. So was yesterday, and so is tomorrow and every day from now until forever.’”
The record-breaking Taylor Swift: The Eras Tour concert movie will be available for premium digital rental beginning Dec. 13 from Universal Pictures Home Entertainment. The Taylor Swift: The Eras Tour (Extended Version) PVOD release will include three additional songs and is priced at $19.89 — derived from the year Swift was born and the title of her Grammy Award-winning album 1989.
Digital platforms include Prime Video, Apple TV, Vudu, Xfinity TV, YouTube, and Google TV, among others.
Taylor Swift: The Eras Tour generated almost $98 million in its theatrical debut on Oct. 13 — a record for a concert film. The film version of Swift’s ongoing global concert tour, which is currently performing in South America, has sold almost $250 million in tickets worldwide.
The home edition of the concert film includes three bonus songs not seen in theaters: “Long Live,” “The Archer” and “Wildest Dreams.”
Hi! Well, so, basically I have a birthday coming up and I was thinking a fun way to celebrate the year we’ve had together would be to make The Eras Tour Concert Film available for you to watch at home! Very happy to be able to tell you that the extended version of the film… pic.twitter.com/JTpl0tz1uG
Disney CEO Bob Iger didn’t mince words explaining the Walt Disney Studios Motion Pictures’ relative underperformance in fiscal 2023, which ended Sept. 30.
Disney reported an operating loss of $149 million on revenue of $1.86 billion in the fourth quarter for its “Content Sales/Licensing and Other” business segment, which includes theatrical and home entertainment. The segment posted an operating loss of $8 million on revenue of $1.9 billion in the previous-year period.
Speaking on the Nov. 8 fiscal call, Iger said the movie studio’s quarterly results should be put into perspective. He said Disney had four top 10 box office theatrical titles in the fiscal year, led by Avatar: The Way of Water, which topped the 2022 box office with $2.3 billion in global ticket sales.
Iger said that in addition the pandemic’s impact on movie production, heading into the global COVID-19 shutdown in March 2020 (when he abruptly relinquished his CEO title to Bob Chapek to become executive chairman) the studio was “leaning into” a huge increase in content spending and production.
“I’ve always felt that quantity can actually be a negative when it comes to quality,” Iger said. “And that’s exactly what happened. We lost some focus.”
Since returning to the helm late last year (following Chapek’s abrupt dismissal), Iger said the studio is working to consolidate operations and make fewer movies, while focusing more on quality.
“We’re all rolling up our sleeves, including myself, to do just that,” he said, alluding to the pending theatrical slate that will revolve around sequels and original content, beginning with animation comedy Wish on Nov. 22.
“I feel good about the direction we’re headed, but I’m mindful of the fact that our performance from a quality perspective wasn’t really up to the standards that we set for ourselves,” Iger said.
Indeed, the huge spike in the Q4 operating loss was due in part to the theatrical performance of Haunted Mansion ($117.4 million in global revenue) in the current quarter compared with Thor: Love and Thunder ($760.9 million global revenue) in the prior-year quarter, partially offset by lower theatrical marketing costs for future releases. An increase in home entertainment distribution results was driven in part by higher packaged media unit sales of Black Panther: Wakanda Forever and Thor: Love and Thunder, among others.
Overall, when combining linear TV networks, DTC, and Content Sales/Licensing and Other, Disney’s Entertainment business segment reported an operating profit of $236 million on revenue of more than $9.5 billion, compared to an operating loss of $608 million on revenue of $9.3 billion last year.
The video game launch of Mortal Kombat 1 and continued success of the Hogwarts Legacy game franchise helped Warner Bros. Discovery up its “other” business segment revenue by 9% to $200 million in the third quarter (ended Sept. 30), from revenue of $192 million in the prior-year period. The “other” segment includes home entertainment, with DC Comics’ antihero Black Adam and Oscar-nominated Elvis spearheading packaged-media sales in 2023.
“[Video games have] been profitable in each of the last 15 years averaging more than $400 million in [pre-tax earnings] the last three years alone,” Warner Bros. Discovery CEO David Zaslav said on the fiscal call. “We believe games is a critical and very valuable asset for the company with a great deal of potential for growth. Games has consistently enjoyed among the highest [return-on-investment] of any of our businesses.”
Overall studio segment operating income fell 5% to $727 million on revenue of more than $3.22 billion, compared to operating income of $762 million on revenue of $3.08 billion in the prior-year period.
On the theatrical side, Barbie remains the highest grossing movie in 2023 and in Warner Bros. history, generating nearly $1.5 billion at the global box office. The Nun II was the six installment in “The Conjuring” universe to cross $250 million at the global box office. As a franchise, “The Conjuring” universe films have grossed nearly $2.3 billion globally, the most of any horror franchise, according to Warner Bros.
Netflix, Paramount Home Entertainment, Disney+, Warner Bros. Discovery, Apple TV+, Prime Video, Sony Pictures Home Entertainment, Lionsgate U.K., HBO, and Universal Pictures Home Entertainment are among the top nominees for the upcoming 43rd BASE Awards, honoring the best in U.K. home entertainment, including retail, distribution and creative
Several new awards have been added, including “Best in Class — Bonus Features,” “Commercial Initiative of the Year” and “Social Impact.” Awards returning for the second year include “Best in Class — Social/PR” and “Campaign of the Year for Independent Film” in partnership with BIFA.
“As audiences embrace the ever-growing choice of channels and services through which they can enjoy the home entertainment experience, whether through a subscription or ad- funded service, a FAST channel or our long-championed transactional formats, so do the BASE Awards,” CEO Liz Bales, said in a statement. “It is fantastic to see all aspects of the industry represented in the 2023 BASE shortlist. We’re excited to welcome partners and colleagues, new and existing, to this unique industry celebration.”
The winners will be announced at ceremony Nov. 2 at the Camden Roundhouse in London.
Amazon X-Ray: Amazon Prime Video
Thirteen Lives: Dream Audience: Prime Video
The World of Batman: Warner Bros. Discovery/Apple TV
BASE Fan’s Choice Award
Happy Valley – Season 3 Finale: BBC Studios Everything Everywhere All At Once: A24
Stranger Things Season 4: Netflix
Succession – Season 4: HBO/Warner Bros. Discovery
The Last of Us – Episode 3: HBO/Warner Bros. Discovery Top Gun: Maverick – Maverick: Paramount Home Entertainment The White Lotus – Season 2 Finale: HBO/Warner Bros. Discovery
Best in Class – Bonus Features
Creating Empire of Light: The Walt Disney Company
Doctor Who The Collection: Season 22: BBC Studios, Spirit Entertainment
Get Carter: BFI
Great Expectations – Inside Looks: Once Upon A Time, FX, BBC Studios
Queen Charlotte: A Bridgerton Story – Inside the Costumes: Netflix
Roald Dahl’s Matilda The Musical – Sing Your Heart Out!: Sony Pictures Home Entertainment
See How They Run – Behind the Curtain: The Walt Disney Company
The Queen of Spades: StudioCanal
Best in Class – Insights
Advertising Intelligence International FAST Research: Omdia
Connected Devices Market Analysis & Insights: Looper Insights
Disc: The Untapped Value: Kantar Worldpanel
The Platforms & The Players: BB Media
Best in Class – Disc Packaging & Artwork
Dr Who and the Daleks: StudioCanal & Rob Watts Rogue Four
Star Trek: The Motion Picture – The Directors Edition: Paramount
The Battle at Lake Changjin: Trinity CineAsia & Foz Creative
The Film Vault: Wave 1: Spark Brighter Thinking, Warner Bros. Discovery & Universal Pictures Home Entertainment
Three Colors Trilogy: A Curzon Collection: Curzon Film & Wim Wenders Stiftung
Best in Class – Social/PR
Lyle, Lyle, Crocodile: DnA PR & Sony Pictures
NOPE Influencer Content: Universal Pictures & META Pink Flamingos: 50th Anniversary: DnA PR, The Criterion Collection & Sony Pictures Roald Dahl’s Matilda The Musical – PR & Social Campaign: Sony Pictures & DDA Spider-Man: 20th Anniversary: Sony Pictures & Play PR Uncharted: DnA PR & Sony Pictures Where The Crawdads Sing – Elmley Nature Reserve: DnA PR & Sony Pictures
Wim Wenders: A Curzon Collection: Curzon Film
Best in Class – Video Asset
Emily the Criminal: Universal Pictures Content Group & Chinagraph
Halloween Ends: Universal Pictures & Prelude Creative
Lyle, Lyle, Crocodile: Sony Pictures & Silk Factory
Rakuten TV Mega Points Week: NOAH London & Rakuten TV
See How They Run – HBO First Look: Once Upon A Time, Searchlight Pictures & HBO
Spider-Man: All Roads Lead To No Way Home: Sony Pictures
The Devil’s Hour – Teaser and Trailers: Once Upon A Time & Prime Video
The Making of The Crown Season Five: Once Upon A Time & Netflix
Campaign of the Year for Catalog
Ex Machina (4K UHD Special Edition): Universal Pictures Home Entertainment Get Carter (4K UHD): BFI Superman 1-4 (4K UHD Steelbook Collection): Warner Bros. Discovery The Film Vault Range: Universal Pictures & Warner Bros. Discovery
WB100 – Celebrating Every Story: Warner Bros. Discovery
Campaign of the Year for Film – Over £15m Box Office
Avatar: The Way of Water: The Walt Disney Company
Jurassic World Dominion: Universal Pictures
Roald Dahl's Matilda the Musical: Sony Pictures
The Batman: Warner Bros. Discovery
Campaign of the Year for Film – Up to £15m Box Office
65: Sony Pictures
Bullet Train: Sony Pictures
M3GAN: Universal Pictures
Campaign of the Year for Independent Film (sponsored by BIFA)
Emily the Criminal: Universal Pictures Content Group
Lionesses: How Football Came Home: Altitude Film Entertainment
Terrifier 2: Signature Entertainment
Campaign of the Year for Specialist
Dance Craze: BFI
Lionesses: How Football Came Home: Altitude Film Entertainment
The Battle at Lake Changjin: Trinity CineAsia
The Subtle Art of Not Giving a F*ck: Universal Pictures Content Group
Campaign of the Year for TV
Better Call Saul: Final Season: Sony Pictures
Chucky: Season 1: Universal Pictures
House of The Dragon: Season 1: Warner Bros. Discovery
The Kingdom Exodus: MUBI
Commercial Initiative of the Year
Championing New Release in Retail: Frontline
Icon Film Channel Premieres: Kaleidoscope Home Entertainment
Next Generation Transactional Data: Official Charts Company
STUDIOCANAL Presents: StudioCanal
SVOD Transactional Optimization: Sony Pictures
Unleashing the Power of Ad-Supported Viewing: Rakuten TV
Creative Initiative of the Year
Christmas Catalog Campaign: Sony Pictures
Gü Home Cinema x Emily PVOD Release: 1155 & Gü
The Amazing Maurice 360 Campaign: Once Upon A Time & Sky Wednesday & for Outernet: Spark Brighter Thinking & Netflix
A Man Called Otto: Sony Pictures
All Quiet on the Western Front: Spirit Entertainment/Netflix
Everything Everywhere All At Once: A24
M3GAN: Universal Pictures
My Old School: Dogwoof
Terrifier 2: Signature Entertainment
The Appointment: BFI
The Quiet Girl: Curzon
Triangle of Sadness: Lionsgate U.K.
Retailer of the Year – Digital
Virgin Media Store
Home entertainment sales of actioner John Wick: Chapter 4 helped Lionsgate’s motion picture segment increase revenue for its first quarter ended June 30 to $406.5 million, up 46% from revenue of $278.8 million in the prior-year quarter. Segment profit increased by 37% to $69.2 million compared to $50.5 million in the prior year quarter.
Motion Picture revenue and segment profit growth were driven by strength in the box office and home entertainment performance of John Wick: Chapter 4, successful multiplatform releases and strong library home entertainment sales.
The overall studio business, which includes the motion picture and television production segments, reported revenue of $625 million, a decrease of 12% from $711.1 million in the prior-year quarter. Segment profit of $92.1 million increased 31% from $70.1 million in the prior year quarter.
Warner Bros. Pictures has a pending billion dollar-plus box office blockbuster in Barbie, but the movie’s outsized fiscal and cultural phenomenon is taking place in the current fiscal third quarter, not the second. Up until Barbie, the studio’s theatrical slate, which included vaunted DC superhero flicks The Flash and Shazam! Fury of the Gods, has underperformed.
As a result, Warner Bros. Discovery’s studio segment Aug. 3 posted a 30% decline in second quarter, ended June 30, revenue to $2.58 billion from pro-forma combined revenue of $3.36 billion in the previous-year period when the company operated pre-Discovery merger as WarnerMedia. Operating income dropped to $306 million from $409 million in the prior-year period.
Home entertainment and theatrical revenue declined due to the stronger performance of the theatrical slate last year, including The Batman, which ranked as the No. 7 North American box office release in 2022 with $369.3 million in ticket sales; $771 million worldwide. The movie was the studio’s best-selling retail release on digital and packaged media last year.
TV revenue declined primarily due to the timing of production, fewer CW series, and fewer series sold to proprietary platforms. Games revenue dropped due to the release of LEGO Star Wars: The Skywalker Saga in the prior year.
“While the studio’s performance has been challenged in recent years, and [movies] have clearly under-earned their potential, we are taking meaningful steps with respect to the creative direction of both Warner Bros. Pictures and DC Studios,” CEO David Zaslav said on the fiscal call.
Zaslav said the refocus would include a new “Superman” movie, which he said the studio had not produced for 10 years, noting it has been nine years since the studio released a new “Lord of the Rings” movie.
The executive hopes the current Barbie craze will translate into additional tentpole movie success for Warner Bros. Pictures going forward.
“For many years, the secret to Warner Bros. profitability was tentpole films,” Zaslav said. “They would make two to three of them, together with a slate of new original content, and that was the winning formula. We intend to get back to what we know works.”