Content creation is half the battle. How can streaming services pull in the masses?

“Apple TV+ spent $20b on shows and movies, but forgot to tell people about them.”  

You may have seen similar tweets and headlines circulating recently along these lines. ‘Apple has so many great shows. How have I not heard of them?’                                                                                 

Bloomberg recently reported that Apple’s spend will be halted, as they’re currently getting less views in a month than Netflix see in a day.  So what’s the problem here?

There’s absolutely no doubt that Apple are making really great, compelling content.  If you scroll through their app, you can find big name actors, amazing storytelling, fantastic cinematography, and thought provoking writing.  Think The Morning Show, Severance, Central Park, Ted Lasso, Slow Horses, Bad Sisters, Presumed Innocent, Criminal Record, CODA, Masters of the Air.  It has a lower volume output than the likes of Netflix and Prime, but it’s clear they want their key brand value to be ‘quality’.  But instead of screaming this from the rooftops, Apple seems to be content with a whisper.  

So, how do you find out about great Apple TV content?  It’s usually along the lines of ‘I’ve heard that’s supposed to be really good’.  You’re vaguely aware that someone is talking about it, but who?  In the main, it seems to be critics and reviewers (people who clearly know their stuff), plus the occasional superfan advocate.  But it’s not an effective strategy to draw in the masses – if that is, indeed, what they want.

Netflix, the undisputed market leader (‘the streaming wars are over’ of course), have a different way of doing things. You can’t help but notice when a new Netflix show has launched.  This year, there’s been wave after wave of UK-based shows which you simply can’t avoid, even if you wanted to. Fool Me Once, One Day, The Gentlemen, Baby Reindeer, Eric, Bridgerton – all deeply entrenched in British pop culture, whether you have a subscription or not.  They inspire countless think pieces, column inches and everyday conversations.  And chances are, you know someone who has seen these shows, so you want to get involved too.

We talk to people every week about what they’re watching, and not just in a professional capacity – it makes for much better small talk than moaning about the weather.  Something that’s struck me over the last few weeks is the number of people who have passionately talked about Supacell, Netflix’s recent launch about five ordinary South Londoners who discover they have superpowers.  These people have often acknowledged that ‘it’s not my usual type of thing’, or ‘I don’t typically like Marvel films’.  There’s also a feeling that they’ve discovered it, or just happened upon it.  And that speaks to how opening the Netflix app is part of a fundamental routine for many – we know people don’t cancel Netflix as often as they pull the plug on their other subscriptions – and how much trust they have in the service to deliver.  Obviously, the infamous Netflix algorithm is doing a very sophisticated job pointing this show at the right eyeballs, but there’s a real buzz about this title.  It’s actually trading on a lot of those values we associate with Apple TV – great storytelling, stellar performances, beautiful cinematography and critical acclaim; crucially, however, it’s drawing people in.

Another thing that really interests me about Netflix’s approach is the way they utilise social media.  Their Instagram and TikTok posts are designed to appeal to fans, and the account itself presents as a fan too.  There is unbridled enthusiasm for these shows and films.  On St Swithin’s Day this year, they commemorated the wild success of One Day (full disclosure: I have been a diehard Em and Dex fan for the last 15 years) by placing a plaque in Edinburgh in one of the key filming locations.  The Bridgerton launch was accompanied by a lavish press tour and fan events featuring ‘Polin’ (Penelope and Colin, for the uninitiated), the couple who featured in this series.  And there was a series of London-centric gatherings to celebrate Supacell, involving the cast and series creator Rapman.  They were all captured for social content, boosting noticeability, and building fan communities in the process – something which is increasingly important as the gap between seasons gets longer.

So what should Apple TV do next?  They’re half way there – the content is top notch, but they need to give viewers a reason to sign up and stay.  World building is important within the content, but it’s also crucial outside of it.  Embracing the fan community for each of their returning shows would be a start, but ensuring people consider the app as a destination is key.   

It’s clear that without a good understanding of the way in which viewers are discovering content, platforms like Apple could potentially struggle to cut through.  This is all the more prevalent as we now see streamers having to making tough decisions in relation to spend and commissioning. When ROI is so crucial, it’s not just about making great content – it’s about making sure everyone knows it’s there. 

To get more eyeballs on your content, get in touch today on l.finnemore@trinitymcqueen.com