EnTech Fest: NBCUni’s Matt Strauss Talks About Making NFL Streaming History

While his family was watching the Jan. 13 NFL Wild Card playoff game between the Kansas City Chiefs and the Miami Dolphins, Matt Strauss had more than touchdowns on his mind.

The NBCUniversal chairman, direct-to-consumer and international, was anxiously monitoring Peacock’s exclusive live stream of the playoff game — a first for the industry — and if things went sideways, there would be a lot of angry football fans.

“No one had ever done that before,” he said Feb. 7 during a keynote at EnTech Fest, presented by DEG: The Digital Entertainment Group in Los Angeles.

“We felt like we were going to melt down the internet,” he said, talking about the planning for the event. “We spent seven months just war-gaming.”

The team ran models, and he told them to double the capacity of what was expected.

In the end, the game attracted 23 million viewers.

“We actually used 30 % of the entire U.S. internet for this one game,” he said.

Peacock, he said during the keynote, has from the very beginning been looking to go where there is “white space,” zigging when others zag. That’s why it launched with ads just as everyone was touting subscription streaming without. Now, most of the SVOD platforms have gotten on board with advertising.

“It’s really about share of time and share of wallet,” he said. “We knew advertising was going to be important to our business model.”

The service now has 31 million subscribers and $10 a month of RPU.

“We’re not competing; we’re a complement,” he said. “We believed that not any one streaming service was going to be able to supply consumer streaming calories.”

The company also built Peacock with an eye toward live programming, including sports, news and unscripted, and using that live streaming to grow the business.

“At the end of that [Wild Card] game we put you into one of our new series ‘ted,’” he noted.

Moderator Jim Wuthrich, DEG chair emeritus, asked Strauss about the just announced pending sports joint venture between Warner Bros. Discovery, Fox and Disney.

“It’s about sports, but it’s also about bundling,” Strauss said, adding increased bundling is in the industry’s future.

During the early days of streaming, consumers had a wealth of quality programming, he noted.

“Those economics were never going to be supported with the retail prices that streaming services were charging,” he said.

Prices are going up, advertising is being inserted and bundling is on the rise.

In the end, streaming is similar to TV; services want to keep consumers coming back every day, he said.

“I don’t see how you accomplish that without some element of live,” he said.

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He also said streaming platforms may offer products other than just video, for instance ticketing services such as Fandango (also part of NBCUniversal).

“We will have to evolve our definition of what a streaming service is,” he said.

Comcast’s Matt Strauss Discusses How Peacock Spread Its Wings During a Pandemic

Launching NBCUniversal’s new flagship streaming service Peacock might have seemed a daunting task under normal circumstances — but it took on new challenges during a pandemic.

Still, Matt Strauss and his team knew there were many ways Peacock could spread its wings.

Strauss, chairman of direct-to-consumer and international at Comcast, is responsible for all aspects of Peacock, among other duties. The AVOD/SVOD hybrid service has gathered 26 million total subscribers, NBCUniversal CEO Jeff Shell revealed Dec. 8.

Strauss told attendees Dec. 15 at DEG: The Digital Entertainment Group’s virtual pre-CES event that Peacock, which launched in July, is designed to fill an important niche in the increasingly competitive streaming marketplace — and that it has a long-term strategy.

“When we launched Peacock, we really wanted to keep our heads down,” he said. “It was really about execution. We thought that there was an opportunity to surprise and delight people with something that we believe is unique in the market, but at the same time, one of our mantras has really been it’s not a sprint, it’s a marathon.”

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One initial curveball during launch was the postponement of the Olympics, which had been designed as must-see programming on the new streaming service, to be boosted by an elaborate marketing campaign.

“I’m always a very optimistic person by nature, and I always look for a silver lining,” Strauss said. “I think that there was a silver lining because the week that we were planning to launch nationally for the Olympics — it would have been great in many respects — but at the same time it was a kind of very concentrated way that we were going to launch during the few weeks of the Olympics, and what we ended up doing is coming up with a similar plan, but we spread it out across the back half of the year, and I think that that gave us this ongoing cadence and drumbeat that, from a marketing standpoint, I believe, was actually better than what we had initially planned.”

There was another bright side.

“We actually thought that in a small way Peacock could benefit with everything that was going on in the world, giving people another entertainment option,” he said.

Another advantage Peacock had was companywide expertise and products supporting a service that “really taps into every part of Comcast,” he said. The platform is built from Sky’s Snap TV OTT service, NBCUniversal powered a lot of the programming, and Comcast’s cable unit offered on demand knowledge.

“I myself come from Comcast cable,” he said. “I’ve been at Comcast for 16 years, so I’ve had a front row seat in the evolution that we’ve gone through as a company with the development of X1 and Flex, broadband products. When it came to Peacock, you really had stakeholders from all the different parts of the company with different experiences that were brought to the table when it came to design.”

Peacock tapped Comcast’s X1 and Flex (Internet-only) customers to refine the user interface by offering its premium service to them first at no additional cost in April.

“It was a really interesting sandbox, and we wanted to use three months to really harden the application,” he said.

Executives didn’t want Peacock to be a “me too” service, so they combined the experience of watching linear TV with on-demand components and a unique “trending” feature, tapping into how younger generations interact with video. They also decided to offer ads, in a departure from other new services Disney+ and Apple TV+, as well as established SVOD player Netflix.

“We know the trends that everybody else is looking at,” he said. “You’re continuing to see pay-TV decline, not really because people don’t like pay television, but because they’re getting priced out. The average cable or satellite bill is $85 a month. And then you’re looking at a service like Netflix, which has done a very good job at creating a good price-value equation, that others are moving towards, and you know there’s a lot of competition in the streaming space and it’s only grown in past 18 months, and a lot of it is trying to go after Netflix, and we realized that that wasn’t really where we thought the opportunity was for us.”

They decided on offering a free, ad-supported component to combat this subscription fatigue.

“At some point, when you’re paying for internet and now two, three or four subscription services, I think for some people it becomes frustrating,” he said.

The Peacock team also concentrated on offering a unique product.

“Our ambition with Peacock is to really position ourselves as the premium ad-supported aggregation streaming service,” he said. “We didn’t call ourselves NBC+. We didn’t call ourselves that for a reason — because we wanted to position ourselves as an aggregator that can go beyond the boundaries of our catalog and our content. But we also believe as we continue to produce more programming, add more content, that there’s also an opportunity for us to migrate customers to subscription.”

They also knew there was an opportunity to address a need in the advertising community as more eyeballs were moving to streaming.

“There was a pent-up demand that was growing with advertisers looking for the ability to participate,” he said. “But they want to participate with premium content, and there weren’t a lot of options in the streaming space that they could participate in that way, and we saw that as a sweet spot for us.”

In contrast to other ad-supported streaming services, Peacock has a more user-friendly ad load of no more than five minutes of ads per hour, he said.

“We felt really fortunate that we were able to secure 10 premium launch sponsors with Peacock, and the benefit is that they get an uncluttered environment,” he said. “They also have a seat at the table as we’re developing the product because in many respects our ambition is really not just to look at this as a 15-second spot or a 30-second spot but how do we start to find other creative ways through ad innovation that we can bring the advertisers to light.”

Unlike other services, Peacock also avoids repeating ads to a customer over and over again.

“Even if it’s a limited ad load, there’s nothing more frustrating in my opinion than seeing the same ad in different pods while you’re watching a show,” he said.

Looking into 2021, Strauss sees a wealth of programming coming, in part due to production slowdowns and the Olympics delay.

“The Olympics got shifted, and now next year, we’ll almost have two Olympics within a relatively short amount of time,” he said. “Even though we were able to launch over a dozen original series this year, we had more planned, and now we’re going to have more next year than we had initially contemplated because of COVID.”

The service in January will serve up a Wild Card game with the NFL, and then there’s the sitcom juggernaut “The Office,” which also hits the service that month. NBCUniversal outbid Netflix, on which “The Office” reigned as one of the top programs, to bring the comedy to Peacock.

“We’ve got some exciting things in how we can present ‘The Office’ in a way that’s maybe a little bit more unique than what people have seen in the past,” he said.

The first two seasons (2005-06) of the series will be available for free with ads, while subsequent seasons, in addition to “Superfan Episodes,” will be available on Peacock Premium for $4.99 monthly with ads; $9.99 without ads. The “Superfan Episodes” offer unseen footage, extended cuts and deleted scenes.

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Having tried to launch an on-demand service almost 20 years ago, Strauss said he feels “almost like a kid in a candy store” with the technology and marketplace Peacock is in today.

“I feel fortunate that I was almost given an opportunity to do it again, but to do it in a way where the technology has evolved, clearly audiences and users have evolved, and the distribution has grown significantly,” he said.

Starting a streaming VOD service from scratch has been a unique opportunity, he said.

“I’ve got this sandbox,” he said. “I can really try to push the envelope to where I think the puck is going with what people are looking for, and the bar’s lower because I’m starting with almost no subscribers, so it’s an opportunity for us to iterate quickly, learn quickly.”

NBC Universal Picks Comcast’s Matt Strauss to Run Peacock Streaming Service

As media companies ready a host of new over-the-top video streaming platforms, management shuffles appear to be part of the transition.

NBC Universal, which is launching branded Peacock streaming service early next year, has reportedly picked Comcast executive Matt Strauss to head the platform, replacing Bonnie Hammer, who transitions to a new position overseeing broadcast and cable studio operations, according to Variety, which first reported the move.

Both Hammer and Strauss have featured prominently in Media Play News‘ Digital Drivers annual feature story.

“Bonnie’s great taste, deep Hollywood relationships, and strong track record of generating popular and award-winning programming make her ideally suited to oversee this new division,” Steven Burke, CEO of NBC Universal, said in a statement.”

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Burke contends Hammer’s expertise in both digital and network distribution will be integral to the future success of “our streaming business,” including acquiring content for Peacock.

Bonnie Hammer, Matt Strauss, Paul Telegedy, George Cheeks

Under Hammer, NBC Universal unveiled the Peacock brand for its streaming service that will be an unpriced add-on to Xfinity subscribers and non-subs.

Strauss, EVP of Xfinity Services,  earlier this year helped launch Xfinity Flex — a $5 monthly service offering Xfinity broadband-only subs direct access (for a separate fee) to Netflix, Amazon Prime Video and HBO Now, in addition to ad-supported content, and digital movies for sale and rent.

Xfinity Flex comes with more than 10,000 free online movies and TV shows — including live streaming TV — from ESPN3, Xumo, Pluto, Tubi TV, Cheddar, YouTube and more.

In other changes, Paul Telegdy will be the sole chairman of NBC Entertainment. Telegdy’s previous co-chair George Cheeks now reports to Hammer.



DEG Announces Board for 2019-20

DEG: The Digital Entertainment Group on Aug. 9 announced its incoming board of directors at the start of its 23rd year as one of the home entertainment industry’s leading trade associations.

DEG’s voting member companies elected the new board to serve for the 2019-20 fiscal year (Aug. 1 – July 31). New board members include Pedro Gutierrez of Microsoft Corp., Cheryl Goodman of Sony Electronics and Erol Kalafat of Amazon Studios.

Amazon Studios is a new member company represented on the
DEG board for the first time.

The DEG also has added two additional companies to its membership: Row8, a transactional digital movie service that allows viewers to stop a movie they don’t like and choose a new one at no additional charge, and Snap Inc., parent company of social networking app Snapchat.

The Officers of the DEG board were elected to a two-year term in 2018 and will continue to serve through July 2020. Officers include Chair Matt Strauss of Comcast Cable; Vice Chair Sofia Chang of WarnerMedia Distribution (HBO); CFO Bob Buchi of Paramount Home Entertainment; Secretary Jim Wuthrich of Warner Bros. Worldwide Home Entertainment & Games, and Chair Emeritus Mike Dunn, formerly of 20th Century Fox Home Entertainment.

“At a time when our industry is rapidly changing, the board of directors strives to produce deliverables that meet the needs of the industry at this dynamic time, such as DEG’s D2C Alliance, formed at the start of the year,” said Amy Jo Smith, president and CEO of the DEG.

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