And more on the EPIX marketing strategy

In case you’re wondering why they made such a big deal out of Daniel Miller’s Freygeist bike, it totally fits this plan. Here.

~ by Servetus on September 8, 2016.

2 Responses to “And more on the EPIX marketing strategy”

  1. “quality content that’s accessible and frictionless and gets people into the experience right away.”. This has been a huge shift in marketing and PR strategy for entertainment. Since there are always barriers of some kind for the audience, making it easier in other ways is huge. If we have to pay, we want to watch on as many devices as possible and with flexibility of timing. If I have to add a new service, I want to know in advance that the content is good. We want to choose when, where, and how because we have tons of options. And if you’re going to sell us a bike, try and keep it relevant to the experience of the show.

    (Marketing for live events still struggles a lot with ” accessibility and friction “. It is the nature of the beast, and that beast is NOT passive audiences.)

    I’ve been impressed with Epix strategy and marketing content (overall). As it has slowly unfolded this summer, it makes more and more sense to me.

    • Yeah, I’m not really in that marketing demographic at all. I like drama separate from advertising just like I like editorial separated from reporting. Honestly, no one who has a bike like that in Berlin would ever just lock it up on the street. It cost more than my MacBook Pro and two thirds of what I paid for my last car. I mainly want to watch TV on a television, or if I am writing about it on my computer, but never on a screen smaller than 13 inches. And I’d rather learn more about the characters or the cinematography than what is essentially (a very beautiful) prop.

      But I accept that that is where the world is going. Everything changes.

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