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Rose Adkins Hulse, Founder and CEO Of ScreenHits TV

Redefining Streaming Experience

admin   September 7, 2021

ScreenHits TV allows consumers, who have been longing for an aggregator to organise all their streaming services in one app, get full use of their streaming apps by having a quick glimpse at what is recommended and what is trending across all their streaming platforms, says Rose Adkins Hulse, Founder and CEO Of ScreenHits TV, in a chat with Pickle

Tell us about ScreenHits TV

ScreenHits TV provides a unique platform for consumers to organise and get the most out of their streaming subscriptions in one place. It provides a unique interface to discover content across all the leading premium streamers, without having to switch between apps to do so.

How important is TV in a streaming world?

TV has many definitions. Consuming content exclusively via satellite providers is no longer necessary. The consumer does not have to acquire expensive hardware or have a satellite dish on their roof to enjoy high quality content. The studios are dictating the method of delivery in this new digital age and the consumers are adapting quite well to it. I do believe there will always be a need for a TV screen to watch TV, but the means in how the content gets on the TV is in the process of transition and TV as we know it will be redefined in this new direct to consumer, digital world.

Who are the major streamers using ScreenHits TV services?

Services vary from region to region, but in the territories we are launched in, consumers are able to integrate the leading premium streamers such as Netflix, Disney+, Amazon Prime, Starz, Lionsgate, BBC iPlayer, Peacock, HBO Max, and Paramount +, to name a few.

Which devices does ScreenHits TV work with?

ScreenHits iOS tablet app and soon to be mobile app has compatibility with Android TVs with Chromecast and Fire TV. Shortly we will be launching a native app on Vizio, LG, and Metz.

Screenhits TV poster
How does ScreenHits TV benefit the consumer and help stream content in one place?

The most frustrating thing for the customer when trying to find something to watch is to have to switch in between streaming apps to do a search and discovery. This inhibits consumers from wanting to have multiple apps and removing apps that they feel are not used often, increasing unnecessary churn for streaming services. ScreenHits TV ensures that consumers get full use of their streaming apps, allowing them to have a quick glimpse at what is recommended and what is trending across all their streaming platforms.

What does research say?

Our research, along with research from other leading data companies such as SmithGeiger Group and Nielsen shows that consumers want an aggregator that helps to organise all their streaming services in one and doesn’t require hardware. Consumers are also looking for bundles, so they can easily transition from their Pay TV subscription to app TV. It is important for consumers to understand the true value in switching to app TV and their cost savings.

What is important for a consumer—content or platform?

Content is always important and will remain so. The issue is that with so much fragmentation and rights returning to the studios for their direct to consumer streaming platforms, it can become quite a challenge to keep track of where everything is, so an aggregator that places the consumer first and lets them quickly find their favourite shows or discover the next big show to watch, will become extremely important.

Streaming market is on the rise globally. It is amazing that the US alone has over 300 streaming platforms.It is also considered a $100 billion market with one billion subscribers. Where do we go from here now?

Streaming market is expected to grow even bigger. As the industry starts to consolidate and the winning streaming services solidify their positioning and content roadmap, consumers will start to transition. There are still a large number of consumers that rely on Pay TV for accessing their media. However, streamers are the future and over the next 3-5 years, we will see a massive migration from Pay TV to app TV. These are exciting times.

How important is curation of content?

There are many views on this. Some people want to have a universal search and access to every single piece of content that is available in the world. I personally do not believe in this.

We must learn from the successes and failures of the past and one valuable lesson that we should not forget is that consumers need curation. As consumers have less time at their disposal, ScreenHits TV strives to make their life easier by curating the best of the best.

So, when it comes to our users discovering content they are only searching from the best content in the market. There are other services,too, but they do not curate or limit the number of streamers they have on their platform. However, if we were to do this, it would be a direct contradiction to our name.

ScreenHits TV
How did the pandemic impact growth of aggregators like ScreenHits?

During the pandemic more and more streaming services were launched, and the frustrations of having multiple apps on different devices with multiple interfaces proved to be very frustrating to the consumer. Addition of these new services accelerated our growth in the market exponentially. We were developing ScreenHits TV prior to the pandemic, but we have had to speed up our initiatives to ensure that we were growing with the industry and providing an immediate solution to cord-cutters.

ScreenHits has appointed Moviegoers Entertainment to oversee Indian content?

Yes, this has been a wonderful decision. They have solidified our Indian growth plans and have secured premium Indian content partners for ScreenHits TV globally. They will continue to oversee the rollout of ScreenHits TV India and manage our partnerships with our key Indian players.

When is the India launch expected?

We will be announcing this exciting news in the coming weeks. Stay tuned.

What are the challenges you foresee in the times to come?

Our biggest challenge is to keep up with the opportunities and manage our growth. There are a number of wonderful opportunities right now and we have to focus on our territory rollouts, new product features and always creating the best product for our streaming partners to ensure their content always remains top of mind with consumers at the point of discovery.

Tell us about your competition like Struum.

Struum is not a competitor of ours. They are not aggregating streaming services. They host content on their platform, similar to platforms like IndieFlix, Mubi, Curiosity Stream, History Hits and act more like a TVOD platform like Rakuten and Chili. Their business model is also very different from ours. They offer credits (like a discounted TVOD model) for their users to rent library content from the Indie streamers. They also own the customer relationship and for some platforms that may not be an issue, but as we work with the leading streamers in the world, that does not benefit them and never will. ScreenHits TV does not want to own the customer like Struum does. The customer will always belong to our streaming partners and our goal is to always drive traffic back to our partners’ site while creating a seamless UX for our customers to discover content across all their subscribed platforms.

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Berlinale Talents 2021: Nine Talents from India

admin   February 8, 2021

Amidst the pandemic, Berlinale Talents creates a space for encounters, networks and exchanges during the European Film Market. Berlinale Talents has selected 205 film professionals – 113 women, 84 men and 8 who preferred to not state their gender – from 65 countries. Placed under the theme of “Dreams,” this 19th edition will take place between 1-5 March.

As the first part of this twofold Berlinale 2021, chosen Talents as well as a host of guests and the public are invited into a virtual forum which will showcase the unending possibilities and dream worlds of film: an opportunity to begin building and sharing a global vision for the cinema of the future. The initiative draws not only on the utopic potential of dreams – crucial to so many of us these days – but also brings into sight the many fascinating parallels between the nocturnal film sets we visit in our sleep and the dream-machine that is cinema.

Together the 205 Talents will participate in a 5-day virtual programme featuring tailor-made events with internationally renowned experts holding workshops and talks, some of which are open to the public via berlinale-talents.de.

All the World at Home

This year, set-designer Uli Hanisch (The Queen’s Gambit, Babylon Berlin) will transform the HAU Hebbel Theatre am Ufer into a digital set, allowing Berlinale Talents to convert the distance between the homes of participants from 65 countries and the HAU Theatre into an “SDream,” or an augmented meeting point. “It’s just like being in a dream: Talents, audience and guests will be in Berlin and elsewhere at the same time. The alleged opposition between ‘Real’ and ‘Virtual’ is consumed by our optimistic ‘Everywhere’ for this edition of Berlinale Talents – a programmatic dream journey, which gives new form to our vision for a creative world without boundaries,” in the words of Berlinale Talents heads Christine Tröstrum and Florian Weghorn. The complete programme, including events for the film industry, talks and live-workshops open to the public will be published mid-February.

205 Selected Talents

Not only streaming, sdreaming! Together with 205 invited participants (from 65 countries, selected from a pool of 3,000 applicants), Berlinale Talents is committed to scouting out new paths for a creative industry in the midst of radical change. Talents bring the basic ingredients for such an endeavour: each with their individual strengths and hopes, they come from 13 disciplines and with about 10 years of professional experience under their belts. And all firmly believe in the transformative potential of a community that did not wait for a crisis to actively address challenges and works to ”dream on.” For the first time in 2021, the group includes emerging curators of festivals, innovative VOD-platforms and communal cinemas that shape the future of the audience experience from Indonesia to Mexico. 55% of participants this year define themselves as female, a top value that waits to be replicated industry-wide, as so many applications unmistakably called for. And a broader trend: the social engagement of Talents goes far beyond their films. As creative entrepreneurs they are strongly committed to fairer working relations and equal pay, they are founding film collectives and cinema associations to strengthen their position, and they advocate in favour of indigenous communities, against climate change and for the queer community. But above all else, all 205 Talents are daring daydreamers, about whose work you can find out more at www.berlinale-talents.de.

9 Talents live in or come from India

  • Tathagata Ghosh, director and screenwriter. His short “Miss Man”, which tells the story of a gay man in a rural village, whose father wants to marry him off to the daughter of a relative, travelled the international festival circuit, garnering several accolades; his short “The Demon” is currently streaming on MX Player and Cinemapreneur and will soon release on Disney+Hotstar.
  • Cinematographer Paromita Dhar, interested in (Post)Migration, lensed “Birha” (Absence) which premiered in Busan International film festival, IDFA and Yamagata in 2018-19, furthermore DoP on award-winning documentary project “Behind the Tin Sheets” about construction workers in Bangalore
  • Tanaji Dasgupta is a producer, writer and actor. He has co-written and produced “The Hungry” (dir: Bornila Chatterjee), which premiered at the 2017 Toronto Film Festival and was acquired by Amazon Prime Video, and produced “Cat Sticks” (dir: Ronny Sen), which premiered and won the Jury Honorable Mention at the 2019 Slamdance Film Festival, and was acquired by MUBI.

The Indian selection is complemented by three Indian filmmakers living and working abroad

The Indian director and selected Berlinale Talents Doc Station 2021 participant Kinshuk Surjan, who lives between Brussels and Bhopal, his bachelor graduation film POLA won the Indian National Student Film Award for Best Film and Best Script in 2013 and the master graduation film DE FLANDRIEN won the Flanders Audiovisual Fund’s VAF WILDCARD

Bedatri Datta Choudhury, a US-based film critic who writes for publications such as Buzzfeed, Forbes, Reverse Shot, IndieWire, and Vice

US-based director and screenwriter Shuchi Talati, whose most recent work “A Period Piece,” about an afternoon of period (i.e. menstruation) sex, was selected for SXSW 2020.