PARIS, France: Three Jamaicans – Stephenie Ann McPherson, Christine Day and Simone Facey – will be in action when the Meeting de Paris, the 12th of 14 IAAF Diamond League meets, gets underway at the Stade de France in Paris today. McPherson and Day will go in the 400 metres while Facey will line up in the 200 metres. Fans here were eagerly awaiting another clash in the 200m between Diamond League leader Dafne Schippers of the Netherlands and Jamaica’s Elaine Thompson, who won in a close finish in the Rio de Janeiro finals. However, Thompson, who was an impressive winner in the 100 metres two days ago at the Lausanne Diamond League, has opted out of the meet to go back to her training camp in Italy to prepare for upcoming meets. Schippers should, therefore, have little difficulty in topping the 200 metres and extending her lead for the Diamond Trophy. She should easily defeat Facey, Cote d’Ivoire’s Marie-Josee Ta Lou, who was fourth in Rio, and the likes of American Jenna Prandini, who finished second behind Thompson in the 100m in Lausanne. Despite a sixth-place finish in the women’s 400m in Rio de Janeiro, competing in the one-lap event today will be added motivation for McPherson, who has an outside chance of winning the Diamond Trophy. With race leader, Olympic champion Shaunae Miller of the Bahamas (30 points) missing, McPherson, in second place on 25, could take over the lead with a big performance today. Natasha Hastings of the United States, third on 18, will also be hoping for a win and ten points to make it interesting going into Zurich, where the points for each event are doubled. Following her disappointing run in Rio, Day will be eyeing a return to top form. She is out of Diamond Trophy contention, but will want to end her season on a high. Olympic semi-finalists Oluwakemi Adekoya of Bahrain and home town girl Floria Guai should make the event very competitive. In other female events, runaway Diamond League leader Kendra Harrison, fresh from her win on Thursday in Lausanne, should remain unbeaten in the women’s 100m hurdles, where countrywomen Dawn Harper-Nelson and Jasmine Stowers should once again fight it out for second and third. CLOSE FINISH The men’s 400 metres hurdles could see a close finish, with Olympic champion Kerron Clement the favourite to win. Following his false start in Rio de Janeiro, Puerto Rico’s Javier Culson will be hoping for some redemption. Turkey’s Yasmani Capello, the Rio silver medallist, American Michael Tinsley and Kenya’s Nicholas Bett are the other top contenders in the event. After a National record in the men’s 200m in Lausanne, Churandy Martina, who expressed a lot of confidence yesterday, looks set to take the men’s 100 metres, where he will face the likes of veteran Kim Collins of St Kitts and the French duo of Christophe Lamaitre and Jimmy Vicaut. Another athlete who should be looking for a big home performance is pole vaulter Renaud Lavillene, who is coming off two second-place finishes in Rio and Lausanne. The Frenchman will be hoping to turn the tables this time on American Sam Kendricks, who got the better of him two days ago. Jamaicans in action today 1:17 p.m: Christine Day, Stephenie McPherson – Women’s 400m 1:55 p.m: Simone Facey – Women’s 200m.
Netflix is spending a pretty penny on original entertainment — but while that stuff grabs most of the headlines, it’s actually licensed titles like TV show reruns that still form the core of the company’s streaming business.That’s according to a data analysis from 7Park Data, which found that 80% of Netflix U.S. viewing is from licensed content with 20% from original shows like “House of Cards” or “Stranger Things.” The firm also found that 42% of Netflix subscribers watch mostly licensed content (95% or more of their total streaming). Just 18% of Netflix’s U.S. streaming customers are “originals dominant,” whose viewing comprises 40%-100% of originals, according to 7Park. The data is for the 12-month period that ended September 2017.Top licensed titles on Netflix for that period included “Breaking Bad,” “Grey’s Anatomy,” “The Blacklist,” “How I Met Your Mother,” “The Office,” “Parks and Recreation,” “Criminal Minds,” “Supernatural,” “The Flash,” and “Friends.” (Note that “How I Met Your Mother” rolled off Netflix and moved to Hulu in November 2017 under a deal with 20th Century Fox Television.) That said, there’s no denying that licensed content remains a key part of the lineup for Netflix, Hulu, Amazon Prime Video and other services. Such programming is popular because there’s already a broad awareness among consumers of TV shows like “Breaking Bad” or “Grey’s Anatomy.” Plus, in a subscription VOD streaming environment, viewers are able to binge-watch full seasons — and they don’t have to watch ads.“Licensed content is the engagement engine that drives SVOD viewership, retention and revenue,” commented Christopher Coby, senior industry analyst at 7Park Data.Even so, Netflix isn’t taking its foot off the gas on the originals front. CFO David Wells projected the company will have some 700 original series total globally this year. Netflix, which expects to spend up to $8 billion on content in 2018, has set a long-term target of allocating 50% of its content budget to originals.The company’s strategy continues to be, “Let’s continue to add content — it’s working, it’s driving growth,” Wells said at an investor conference in February.And in fact, Netflix’s booming slate of original content is moving the needle. For the 12-month period ended September 2016, just 12% of U.S. streams were Netflix originals — increasing to 20% the following year, per 7Park’s study.New York-based 7Park Data, founded in 2012, is backed by investors including Mueller Ventures. The company sells data tracking Netflix, Hulu and Amazon VOD viewing to clients across the entertainment industry including studios, TV networks, production companies, and talent agencies.Per 7Park’s analysis, the most popular Netflix originals for the 12 months ended September 2017 included: “Stranger Things” season 1, the fifth seasons of “Orange Is the New Black” and “House of Cards,” “Marvel’s Luke Cage,” “Marvel’s The Defenders,” “Marvel’s Iron Fist,” “13 Reasons Why,” “Ozark,” “Santa Clarita Diet,” “A Series of Unfortunate Events,” “Master of None” season 2, “Narcos” season 3, “Grace & Frankie” season 3, “Black Mirror” season 3, “The Unbreakable Kimmy Schmidt” season 3, and “Bojack Horseman” season 4. For Hulu, which has fewer original series than Netflix, the ratio of licensed-to-original content viewing is even higher: 97% of Hulu streams were from licensed content for the 12 months ended September 2017. Hulu’s biggest breakout success to date has been award-winning series “The Handmaid’s Tale,” based on Margaret Atwood’s novel.Moreover, while originals play an important role in driving new subscriptions, even here licensed content has the edge: 58% of new Netflix U.S. subs watched licensed programming first, while 89% of Hulu subs did.Even when Netflix debuts a much-hyped new show, licensed content remains the bulk of U.S. customers’ viewing. For example, in the seven days after “Stranger Things” season 1 debuted, licensed shows were still 63% of TV viewing; in the week following the premiere of “Black Mirror” season 3, around 88% of TV series viewing was licensed content, 7Park found.There aren’t public numbers on what the tonnage is of Netflix’s originals vs. licensed content. It’s possible that original TV shows and movies overindex in terms of viewing — but the point is, for all the noise about Netflix originals, the bulk of its value proposition for consumers is still largely in second-run (or later) content windows.Reps for Netflix and Hulu declined to comment on the 7Park report.Of course, as with other attempts to measure SVOD services, some caveats are in order about the limitations of 7Park’s methodology. Most significantly, the research firm’s panel measures only desktop viewing — excluding mobile and connected-TV platforms. (According to 7Park, it has conducted “extensive testing” of its data against industry metrics for mobile and connected TV platforms, indicating that the data is “highly representative of all viewership, regardless of platform or device.”) Meanwhile, 7Park claims to have more than 2 million panel members in 50 countries, but it doesn’t disclose how many it has in the U.S. or what the margin of error is for the latest study. 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