Content Libraries May Be Expensive Relics

 “I’m offering you a life of mystery and misery, of loneliness and adventure. More than that, I’m offering you an opportunity to make a difference, to save the world every week, twice before Friday.” Flynn – “The Librarians,” Electric Entertainment, 2013

We love all the noise about what a rich, deep and broad library streaming folks have compared to the “new kids” – Netflix, Apple.

O.K., Amazon cheated by buying theirs (MGM for $8.5B) … whoopee!

We’re just not a library kind of guy because if it’s old stuff we’ve probably seen it or don’t want to.,The idea of watching an old show or series is boring–especially if we’ve seen it before.

Unless there’s a darn good reason!

To prepare for John Wick 4 a few months ago, we relived John Wick – 2014, John Wick Chapter 2 – 2017, John Wick Parabellum – 2019 and we were ready to see Keanu Reeves back in action.

For Matrix: Resurrection, we dug around and found Matrix – 1999, Matrix Reloaded – 2003, Matrix Revolutions – 2003 and sorry Keanu, it just wasn’t a good video game remake for us.

To prepare for Top Gun: Maverick, we had to venture back to 1976 to refresh ourselves on the antics/action of Tom Cruise and Val Kilmer.

Disney, Warner Bros. Discovery, Comcast, Amazon/MGM, ViacomCBS, Apple, and AMC Networks all tout the tremendous value of their libraries that extend back to the era when Hollywood was really Hollywood.

Their accountants are probably placing a huge value of the old content on their books and the edge they have over the techie newbies – Netflix and Apple.


Considering the Complete Content Creation Team

 “I don't think it's nice, you laughin'. You see, my mule don't like people laughing. He gets the crazy idea you're laughin' at him. Now if you apologize, like I know you're going to, I might convince him that you really didn't mean it.” – Joe, “A Fistful of Dollars,” Jolly Films, 1964

We’re delighted with the way the M&E industry has bounced back after two years of being basically on hold.

During that time, the industry got creative and innovative. It also developed new ways for storytellers to develop, produce, post and distribute content and connect for an increasingly anxious audience. 

As new problems arose, the innovators solved them and blazed new trails … all designed to do more with less.

And, according to Bruce Nash, Nash Information Services, film/series crews responded by turning out more than 5,000 projects last year around the globe including countless shows/series, 1,400 films in the U.S., 240 in China (increasing dramatically), 260 in Britain and volumes of major, minor and short movies around the globe, especially in South Korea, India and Italy.

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