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Mike Verdu has left Netflix, according to Game File with Stephen Totilo. Netflix brought the former Oculus and EA exec onboard to launch and lead its gaming efforts in 2021. Under Verdu's leadership, the company released a bunch of new and ported titles, as well as establishing an internal game development operation. In mid-2024, however, Netflix changed its gaming strategy and hired Alain Tascan, the executive vice president for game development at Epic Games, to lead its gaming efforts. Verdu still served as the VP for games until November 2024, after which he was named as the Vice President of generative AI for games. On LinkedIn, Verdu wrote that his role was about "driving a 'once in a generation' inflection point for game development and player experiences using generative AI." He added that he was "focused on a creator-first vision for AI, one that puts creative talent at the center, with AI being a catalyst and an accelerant." Verdu has yet to update his LinkedIn profile with a new role. As Totilo said in his newsletter, Netflix's gaming efforts have undergone some big changes since Tascan took over. In 2022, Netflix hired former Overwatch boss Chacko Sonny to lead an internal AAA studio known as Team Blue. It then brought on Halo exec Joseph Staten, as well as God of War art director Rafael Grassett to work on a multi-platform AAA game for an all-new IP. But in October 2024, Netflix shut down Team Blue. The company had also lost Leanne Loombe, who headed up its second and third-party gaming development and publishing efforts. Loombe recently became the head of games at Annapurna Interactive following a mass exodus, wherein all 25 members of the studio's team collectively resigned. And in early February, Netflix canceled its release plans for six games that were previously heading to iOS and Android, including Thirsty Suitors and Tales of the Shire: A Lord of the Rings Game. This article originally appeared on Engadget at https://www.engadget.com/gaming/netflixs-first-gaming-boss-has-left-the-company-124555235.html?src=rss
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Marketing and Advertising
In response to urbanization and digitalization limiting children's outdoor play, Unilever-owned laundry brand OMO has launched a campaign in Turkey that transforms OOH advertising into playgrounds. The Play is Outside initiative added soccer goals, basketball hoops and slides to billboards in Istanbul's Kadköy, Acbadem and Şişli districts, creating unexpected play spaces in urban environments.The concept aligns with OMO's 20-year-running "Kirlenmek Güzeldir" slogan ("Dirt is Good"), which celebrates the value of physical play and the inevitable messiness that comes with it. "As adults, we often think we can't find time or space to play outside and encourage children to do the same in urban life. But play is also a creative act," explains Alper Capar, Unilever Turkey's Home Care Category Marketing Director. "With this creativity, we can make room for play and sports in unexpected places and moments. We invite all children and adults to play sports on our billboards." The campaign serves as a timely reminder of play's importance beyond screens and enclosed spaces, while cleverly repurposing advertising infrastructure to benefit the communities they occupy. That said those spaces will only be available for a short while. To make a lasting impact, OMO and other brands could take inspiration from Budweiser's basketball activation in Brazil
Category:
Marketing and Advertising
It's no secret that Spotify isn't a big money maker for most artists. But, in its annual Loud & Clear report, the music streamer is trying to change the narrative, reiterating an earlier claim that it paid artists $10 billion in 2024 ($60 million since launching) and adding that these payments increased tenfold over the last 10 years. Spotify throws in quite a few other big numbers into the 2024 report. It claims that the 100,000th most streamed artist also saw a tenfold increase over a decade, receiving $6,000, up from $600. Meanwhile, the 10,000th most streamed artist reportedly received $131,000, up from $34,000. Plus, it reports that almost 1,500 artists generated over $1 million. Despite these numbers, Spotify still doesn't hold much goodwill from artists. For starters, a report from music catalog buyer Duetti found that Spotify paid out $3 per 1,000 streams in 2024, while the same figure gave artists $4.80 at YouTube, $6.20 at Apple Music and $8.80 at Amazon Music. In a statement after the report's release, Spotify told TechCrunch, "These claims are ridiculous and unfounded," and argued that music platforms don't pay by stream. In January, Billboard reported that four of the five artists nominated at the Grammys for songwriter of the year chose to skip Spotify's Grammy party for songwriters all of Spotify's Grammy parties were eventually canceled because of the Los Angeles wildfires. Songwriters, including Jesse Jo Dillon and Amy Allen, both cited Spotify's decision last year to bundle audiobooks and songs in subscription tiers. The publication had previously reported that the new premium, duo and family tiers meant songwriters got paid a discounted bundle rate, losing an estimated $150 million in US mechanical royalties over the first 12 months. This article originally appeared on Engadget at https://www.engadget.com/entertainment/music/spotify-tries-to-defend-its-artist-payout-rates-120021659.html?src=rss
Category:
Marketing and Advertising
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