^ Thank you very much for posting that article!
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a desire to "get rid", internally, of the cumbersome baby Disney + by entrusting its custody to a third party, of which it becomes only one service among others.
...It must be said that the Canal Group believed for a time (hence the 50 million annually put on the table!) That marketing Disney + alone would boost subscriptions to its own bouquets before quickly becoming disillusioned. The public obviously did not rush to Canal to get Disney +, the two steps are not inevitably obvious.
So, the other Internet Service Providers were unhappy that Canal was given 100% rights to the Disney catalog, if I understand the translated-into-English article.
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From Christmas 2020, distribution resale agreements were therefore granted to ISPs (Orange in the lead), the very ones that Disney France had snubbed and whose ire she had provoked. Canal has, in fact, mourned the exclusivity of the distribution of Disney + and now intends to make a return on its investment by partially assigning its rights, per apartment, to other operators, as it can do, for example, for the sharing of 'a sports competition ...
I'm not sure if I fully understand this, but I think maybe they are shortening the 36-month rule, between a movie debuting in cinemas and when it can be shown on streaming/cable/broadcast TV, but Canal isn't getting that for Disney+ since the Internet Service Providers are upset, so Canal is trying to share the wealth of the Disney catalog??
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Franco-French legislation should be removed from the media chronology as the primary source of Disney + 's difficulties in France. Because, in truth, this chronology applies to all platforms and, if obviously it is hindering, in that it deprives the availability of certain cinematographic works deemed too recent (the famous obligation to respect the 36-month deadline to enable them to experience a complete cycle in theaters, in Video on Demand, premium pay television...secondary cinema pay television...general pay television...in free broadcasting on digital terrestrial television), it does not constitute a real obstacle to the taking of subscription. Because the key to a platform's success is not its catalog of recent cinema films...No, the key to a platform's success is to offer both an impressive heritage catalog and, moreover, an offer of new productions reserved for the platform and only found on it.
...Already, the postponement of the launch of the platform, which could not meet the date initially announced, testifies to a culpable amateurism in the technical-political negotiations surrounding the launch of Disney + in France.
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While the media chronology structurally prevents the platform from being filled with recent cinematographic content, thus making the French catalog “the poorest in the world” for this type of program, Disney France has shown itself quite simply incapable of compensating for these shortcomings by providing heritage content, whether it comes from television, cinema or the old video market. On the contrary, it has fewer cartoons, films or old series which are nevertheless available, for the most part with French versions, in neighboring countries. Thus, regardless of the chronology of the media, the Disney + catalog is in France the poorest of all versions around the world.
...Title errors, incomplete seasons, crazy numbering, French version totally or partially absent (although it exists elsewhere)… It's quite simple: everything gives the impression of not being checked before going online. ...six months after the launch, nothing has been done to correct the concerns yet raised en masse by subscribers.
...Once Upon a Time in Wonderland, with episode 1 without VF or subtitles, enough to demotivate the subscriber from any desire to start watching the series. Notably, once is not customary, the error was corrected in less than 24 hours, trying to hide a lack of seriousness that has become obvious.
...the massive disappearance of works from the Disney catalog whose availability rights do not yet suffer from no problem. Thus, in November 2020, Disney + “lost” more than 70 films, TV films, series or cartoons where at the same time 30 new productions were added, giving a staggering addition / withdrawal ratio of single to double. At this rate, the platform will quickly be an empty stall. And this phenomenon is evidently only observed in France: happy are the Belgian, Swiss or Quebec subscribers!
...the hotline reveals that these withdrawals are normal and that it is also written in black and white in the general conditions of subscription! The art and the way of showing that, at Disney France , the right hand does not know what the left hand is doing ...
And then the author is asking Burbank to help. But can they?
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), so I guess she has that relationship with them now.
I liked the 'epic' rendition of the Swan Lake theme featured in the trailer.
I've read about ballet before, so I know it's no joke when it comes to training and trying to land a spot.