Univision's PrendeTV Pushes Into Spanish-Language Streaming with a Free Service. It Has Competition.
Jan 20 2021
Under new leadership, Univision is pushing into streaming with PrendeTV, a free Spanish-language streaming service expected to launch this quarter. And with so many new entrants into the space, it will face tough competition.
<p>PrendeTV boasts that it's the only entirely Spanish platform, with even its library menu written in Spanish. </p><p>At its launch, PrendeTV will offer over 30 channels and 10,000 hours of ad-supported streaming, the company announced this week. Univision has yet to announce a launch date but has confirmed that titles "Nosotros Los Guapos," "Strawberry Shortcake," "Walking Tall," "Amar A Muerte," "Love Nature" and "Lo Mejor De Liga MX" will be offered on PrendeTV.</p><p class="shortcode-media shortcode-media-youtube">
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</p><p>Telemundo, <span></span>another American Spanish-language network and Univision's largest competitor, offers some of its programming on Peacock, NBCUniversal's streaming platform. But it doesn't have an exclusive Spanish language platform. Meanwhile, ViacomCBS' Pluto TV, Discovery's Vix and Fox's Tubi services all also offer Spanish-language media catered to American audiences.<br/></p><p>"The most important thing is that [PrendeTV] has been built from the ground up for the U.S. Hispanic," said Univision Chief Digital Officer Sameer Deen. "What we see as an opportunity is that the U.S. Hispanics are really underrepresented and underserved in the streaming marketplace. We are really taking the time, the energy and bringing all our expertise, to build a product that is 100% in Spanish language, in-culture and really offers a unique and compelling user experience."</p><p>Latino households make up a large portion of streaming video-on-demand subscriptions, according to <a href="https://www.nielsen.com/wp-content/uploads/sites/3/2020/08/nielsen-2020-hispanic-dis-report.pdf" target="_blank">a Nielsen report on Latino cultural connectivity</a>. Seventy-eight percent of Latino households have at least one streaming video-on-demand subscription, compared to less than three-quarters of the total U.S. population.</p><p>"This move is a validation that there's a growing market [for Spanish-language media] in general," said Alejandro Rojas, the director of applied analytics at Parrot Analytics. "Spanish spoken content is actually increasing in demand. Overall, it's actually growing faster than English speaking content, though on a much smaller scale."</p><p>Late last year, Univision was acquired by Grupo Televisa, Searchlight Capital Partners and ForgeLight, an investment firm founded by Wade Davis, the former chief financial officer of Viacom and Univision's chief executive.<br/></p><p>"The announcement of PrendeTV within two weeks of closing our acquisition of Univision underscores our focus and commitment to rapidly driving the transformation and growth of the company," said Davis in a statement. </p>
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In the new television landscape where streaming services like Disney Plus, Apple TV and Netflix dominate, Southern California's flagship PBS stations announced Tuesday a rebranding effort that includes new logos and a redesign of its websites as they shift their focus toward streaming.
A third of PBS SoCal and KCET's viewers are streaming shows rather than watching them on traditional television, part of a larger trend where about 80% of U.S. consumers subscribe to at least one paid streaming video service, according to Deloitte. Twenty-five million households have cut the cord since 2012, CNBC reported last year.
<p>The redesign is aimed at attracting more viewers to their streaming services. With this shift, PBS SoCal and KCET are preparing for a "digital future," in order to compete with streaming service providers. </p><p>"Broadcast will continue to be a significant portion of our viewing, but as people are migrating to streaming devices as their primary entry point for entertainment, we will be there," Dan Ferguson, Public Media Group of Southern California's senior vice president of marketing and communications, said in an interview.</p><p class="shortcode-media shortcode-media-youtube">
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</p><p>The redesign moved the organization's websites to the same content management system, making it easier to share content and streamline the process for those who manage them.<br/></p><p>The company hopes the new websites will be more customized with easier search and navigation tools, making it easier for viewers to find and watch what they're looking for. </p><p>Ferguson said the company launched a campaign to drive awareness to its app when the pandemic hit and that downloads have since been "really healthy."</p><p>PBS SoCal and KCET merged two years ago along with satellite service Link TV to establish the Public Media Group of Southern California, which is available to 18 million viewers. Ferguson hopes the rebranding will solidify brand unity among the three channels.</p><p>Although it is undergoing a rebranding effort, the company remains committed to its mission of public service in the areas of education, arts and culture, news and diversity and inclusion, Ferguson said.</p><p>"As we head into a new year, it is important to remember that although the looks of both PBS SoCal and KCET are changing, our mission remains the same: to strengthen the civic fabric of Southern California while sharing diverse perspectives and providing an essential connection to a wider world," Public Media Group of Southern California President and CEO Andrew Russell said in a news release.</p><p>PBS SoCal airs PBS programming and focuses on educational programming for children and families, while KCET specializes in arts, culture and local news. </p><p>While the company said its local TV broadcast stations will "continue to be as vital as ever," the effort signals its commitment to on-demand, digital content through streaming, apps, social media and other means.</p><p>The marketing campaign, called "You Happen Here," started airing on PBS SoCal and KCET and will include on-air promo spots, website messaging, membership communications and social media posts in the coming months. </p><p>The new graphics and colors are meant to reflect the "hues of Southern California."</p><p class="shortcode-media shortcode-media-rebelmouse-image">
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</p><p>PBS SoCal's rebranding keeps its relationship to the PBS national brand while "bringing in a unique Southern California feeling." The logo keeps the PBS blue, but introduces coral as the new signature color.<br/></p><p>KCET's new logo has a vibrant yellow color that "embodies Southern California values of illumination, inclusion and exploration," the company said.</p>
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Streaming has dramatically changed how consumers view Hollywood and hear music as theatrical release windows shrink and social media replaces radio and television as a source of music discovery.
In our latest Strategy Session, dot.LA spoke with three talent representatives about how new platforms, models and the pandemic are shifting the ways artists reach their audiences, and what might be in store for the future.
<p>Q&A co-founder Troy Carter has worked on providing new tools that allow musicians to gauge the future success of their songs, and to take care of back-office needs once provided by record labels. UTA Independent Film Group partners <a href="https://www.linkedin.com/in/rena-ronson-49026412/" rel="noopener noreferrer" target="_blank">Rena Ronson</a> and <a href="https://www.linkedin.com/in/jim-meenaghan-9a004460/" rel="noopener noreferrer" target="_blank">Jim Meenaghan</a> bring new directors and filmmakers to light and help them get financing and distribution deals for their films. Each plays a role in helping artists navigate bringing their work to market.</p><p class="shortcode-media shortcode-media-youtube">
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</p><p>Carter said where once record companies and radio stations, MTV and BET picked who would be played and who wouldn't, now a whole new world has opened up to artists on social media, streaming apps, as well as entire new industries such as gaming and streaming video.<br/></p><p>What hasn't much changed, Carter said, is the way that artists are compensated. Those who own the music copyright are paid well by streaming services such as Spotify, but that money often doesn't trickle down as quickly to artists. "And that's where, you know, things need to be fixed," he said.</p><p>"If an artist is releasing music independently, they still run a label, essentially. So they should be organized with the same tools," he said. "Everybody's a label, essentially."</p><p>The question for artists has become 'how do you cut through the noise'. His goal is to give them — as well as record labels and agents — the tools to reach listeners.</p><p>"The idea is to, you know, can we make the music industry run more efficiently, and be able to allow labels and artists to make smarter and more informed decisions?"</p><p>For filmmakers, the marketplace is getting to be more difficult, especially for those who — like many independent directors — would like to see their films on the traditional big screen, Ronson and Meenaghan said. The pandemic has accelerated trends within the industry that favor streaming services, which were already able to offer larger sums for films.</p><p>"Everybody in our ecosystem still wants there to be theatrical releases," Meenaghan said. "COVID has just put a pause on theatrical releasing during the pandemic, but I don't think any of us believe that theatrical releasing is going away."</p><p>Much of that may depend on whether the pandemic has created new habits for audiences, who are now used to watching movies on demand and at home. Meenaghan said he's also heard questions about whether theater chains will consolidate or become part of large studios such as Netflix or Disney.</p><p>"That was the speculation," he said. "The studios would buy out the exhibition chains, take the real estate, presumably, and then use the theaters for captive marketing and releasing venues."</p><p>Ronson said viewers can probably expect the 'theatrical window' — the time when films are available only in theaters, before they're released online — to shrink.</p><p>"The big question is going to be 'how is the windowing going to look? Will people stay, you know, continue to go to the theaters?'," she said.</p><p><em>Watch the full discussion above and sign up for our newsletter to get updates on upcoming dot.LA events.</em></p>
<img lazy-loadable="true" data-runner-src="https://dot.la/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTI2MjA4MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzNzIzMTc3NX0.kC-_VjKh6NEuOv6YazOt_r_54lzKlMma7XU8Bi0OakI/image.jpg?width=1500&coordinates=305%2C0%2C305%2C0&height=2000" id="0af3b" class="rm-shortcode" data-rm-shortcode-id="00f73e42c119e3ee1103be764791f6bf" data-rm-shortcode-name="rebelmouse-image" data-width="1500" data-height="2000" />
Troy Carter, Founder and CEO of Q&A
Troy Carter, Founder and CEO of Q&A
<p>Troy Carter is the founder and CEO of Q&A, a technology and media company focused on powering the business of music through distribution, services, and data analytics. Formerly, Troy was the founder and CEO of Atom Factory, where he rose to prominence, nurturing the careers of global superstars including Lady Gaga and John Legend. He most recently served at Spotify as its global head of creator services, overseeing the company's growth strategy for artists and record labels. In 2017, Carter was also named entertainment advisor to the Prince Estate. </p><p>His interest in the intersection of technology and culture resulted in the formation of AF Square Investments. Early investments include Uber, Lyft, Dropbox, Spotify, Warby Parker, theSkimm, Blavity, Gimlet Media, Thrive Market, PlayVs, and FazeClan. Troy currently serves as a trustee for The Aspen Institute, Los Angeles County Museum of Art, and CalArts.</p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTI2NTQ2OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzMzY5NzQ3MX0.yAib4zhJarGaYnKmAR4pKBXivPsThOj97w8Bzox9xnM/img.jpg?width=980" id="26203" class="rm-shortcode" data-rm-shortcode-id="b11c2083d0b846c39feee6223171b6a0" data-rm-shortcode-name="rebelmouse-image" data-width="1220" data-height="1708" />
Jim Meenaghan, Co-Head of the Independent Film Group and Head of Business Affairs - Motion Pictures
Jim Meenaghan, Co-Head of Independent Film Group and Head of Business Affairs, Motion Pictures
<p>As co-head of UTA Independent Film Group, Meenaghan is actively involved in structuring and negotiating film financing and distribution deals for independent films across all media. Meenaghan also oversees day-to-day business affairs operations for the motion picture departments across the agency and works closely with many of UTA's high-profile clients including Wes Anderson, Joel and Ethan Coen, Drew Goddard and Noah Baumbach.</p><p>Prior to joining UTA, Meenaghan served as executive vice president of Anschutz Film Group/Walden Media ("The Chronicles of Narnia," "Charlotte's Web," "Ray"<em>) </em>and was in charge of all aspects of the company's business and legal affairs. Prior to that, he was senior vice president, business affairs at Icon Productions ("What Women Want," "We Were Soldiers," "Passion of the Christ"<em>). </em></p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTI2NTI5NS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYyNjYzNTIwNH0.lHDyt-7482Le01PSiknsFVRMWl2Y6Y8gPnRY9Oaiz00/img.png?width=980" id="756ee" class="rm-shortcode" data-rm-shortcode-id="2073d958d979f4113d7e9160ed90c9ca" data-rm-shortcode-name="rebelmouse-image" data-width="427" data-height="640" />
Rena Ronson, Partner and the Co-Head of the Independent Film Group
Rena Ronson, Partner and Co-Head of the Independent Film Group
<p>Rena Ronson is a partner and the co-head of the Independent Film Group at leading global talent and entertainment company United Talent Agency (UTA). One of the industry's pre-eminent packaging and finance executives, Ronson specializes in global film finance, distribution and marketing strategies for independent and co-financed features, helping the world's most acclaimed independent filmmakers see their work reach global audiences.</p><p>Throughout her career, Ronson has helped package, structure financing for, and sell numerous high profile films, including Oscar-winning "I, Tonya," "Room" and "Icarus," and Oscar-nominated films, "Hidden Figures," "The Big Sick," "Lady Bird," and "Call Me By Your Name," among many others. She is also known for working with acclaimed filmmakers on their directorial debuts, including Greta Gerwig's "Lady Bird," Haifaa al-Mansour's "Wadjda," Don Cheadle's "Miles Ahead," Marielle Heller's "Diary of a Teenage Girl," Jill Soloway's "Afternoon Delight," Crystal Moselle's "Skate Kitchen," and Emerald Fennell's "Promising Young Woman." Additional upcoming films include "The Father" starring Anthony Hopkins and "The Mauritanian" starring Tahar Rahim, Jodie Foster, and Benedict Cumberbatch.</p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTI2NTM3Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1OTc2NzUyNH0.CpuQ0w95VUhqGxWGQrd5DPWypV51CGaImRIA6dIRZVc/img.jpg?width=980" id="5625c" class="rm-shortcode" data-rm-shortcode-id="66059e75cd883b18f07bd159bae51129" data-rm-shortcode-name="rebelmouse-image" data-width="1200" data-height="1163" />
Kelly O'Grady, Chief Host and Correspondent
Kelly O'Grady, Chief Host and Correspondent
<p>Kelly O'Grady is dot.LA's chief host & correspondent. Kelly serves as dot.LA's on-air talent, and is responsible for designing and executing all video efforts. A former management consultant for McKinsey, and TV reporter for NESN, she also served on Disney's Corporate Strategy team, focusing on M&A and the company's direct-to-consumer streaming efforts. Kelly holds a bachelor's degree from Harvard College and an MBA from Harvard Business School. A Boston native, Kelly spent a year as Miss Massachusetts USA, and can be found supporting her beloved Patriots every Sunday come football season.</p><img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTI2MjA4OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTcxNjM2Nn0.oJVAj9fWdCsMduIKVo14OOh8yDQ5y1VC6gttpYPTu9I/img.jpg?width=980" id="3a858" class="rm-shortcode" data-rm-shortcode-id="18c3375470205d183c8b3f367375e84e" data-rm-shortcode-name="rebelmouse-image" data-width="200" data-height="200" />
Sam Blake, dot.LA Entertainment Reporter
Sam Blake, dot.LA Entertainment Reporter
<p>Sam Blake is dot.LA's entertainment reporter. Prior to joining dot.LA, he had a writing fellowship with The Economist, where he wrote primarily for the business and finance sections of the print edition. Sam previously interned at KCRW and hosted a podcast at UCLA's college radio station while completing his dual-degree MBA and Master's in Public Policy. A native of Detroit, Sam previously lived in Madison, Wisconsin and New York City. He studied history at the University of Michigan and speaks four languages.</p>From Your Site Articles
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