Welcome Jenny Wall, SVP Marketing

Hi Team –

Today I’m excited to introduce you to Jenny Wall, who joins us as SVP, Head of Marketing.

Marketing is a topic fresh on our mind. Two weeks ago at the Hulu Upfront, we talked at length about that subject in front of a room of 1,700 brand marketers and advertising partners. At our Upfront, we announced that over the next year, we will more than triple our content marketing spend to grow awareness for, and interest in, Hulu Originals. Additionally, we will be investing in a viewer acquisition and brand campaign to drive new TV lovers to Hulu. We count ourselves lucky to have Jenny at the helm as we accomplish this.

Some key areas Jenny will oversee: strategy and implementation across the Hulu brand, acquisition, and retention channels as well as communications, content, consumer insights and creative. Most importantly, she will focus on building overall “brand love,” giving consumers a reason to come to Hulu and make it part of their daily lives as we build a relationship and connect with them throughout their Hulu journey.

There are many things about Jenny that impress us—three things in particular stood out during her interview process. First, Jenny is a really passionate person—her energy is infectious. And she is a risk taker. In other words, she fits into the Hulu culture of passionate people all working towards a common vision.  

Second, she is both strategic and creative—a hybrid. Throughout her career, she’s been attracted to opportunities that enable her to creatively propel businesses toward the future. 

Third, Jenny understands our emphasis on storytelling – at Hulu, we are all about telling stories, especially when it comes to Hulu Originals -from “The Awesomes,” to the upcoming “Hotwives of Orlando,” to our most recent hit “Deadbeat.”

Jenny brings over twenty years of experience as an influential figure and executive in entertainment marketing. She spent a year and a half at Netflix, leading the global creative team, where she spearheaded new brand campaigns along with launch campaigns for the Original Series including “House of Cards,” “Orange is the New Black,” and “Arrested Development.” 

Prior to Netflix, Jenny spent three years as CMO of entertainment agency BLT Communications, creating marketing campaigns for television, films and brands. She has an impressive ad agency background, having started and run the Interactive Division at Crew Creative, and founded interactive agency GO Marketing, where she executed successful online and grassroots campaigns for HBO, Discovery, Sundance Channel, and Paramount to name a few. Jenny’s career began at DDB Needham, but it was her seven years at HBO where she was part of the team that created the landmark “It’s not TV. It’s HBO” campaign and was involved in launching countless Originals that fueled her passion for entertainment marketing. 

Jenny has a tremendous amount of enthusiasm for Hulu and joining the team. In her own words: “I love entertainment, and having a hand in helping people find and enjoy something they choose to fill their time with. I love how the landscape is changing and the new ecosystem that is being built; Hulu is part of the zeitgeist of that ecosystem. The intersection of entertainment and technology continues to fascinate me, and how amazing, challenging and ever changing it is—being part of something that changes how people view television is in my bones. I believe strongly that Hulu is at the forefront of where things are going, and on the right path to defining the future of television. Oh, and I love whiteboards—I hope you have a lot of them at Hulu!” 

Jenny has a big task ahead of her–Hulu is at a pivotal time in its growth, and we’re leading the way forward in the digital entertainment industry. We have surpassed 6 million subscribers, and every day, these millions of viewers turn to Hulu, thanks largely to our unrivaled breadth and depth of content: an amazing lineup of Hulu Originals, as well as the acquisition of the best premium content including acquiring prior seasons of hit television and exclusive access to some of the biggest broadcast and cable shows.

Our goal is to become the go-to destination for fans of great television, establishing Hulu as the place for viewers to experience “all things TV.” How do we do that? Well, a big part of it will be Jenny Wall (no pressure Jenny!).

I’m fired up about Jenny and can’t wait to have her hit the ground running and do amazing things at Hulu. Please join me in welcoming her to the team. 

– Mike

 

 


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Q: Why do you ask for progressive?

A: The Hulu player, unlike traditional broadcast, does not play back interlace scan, so we require that all videos be delivered with their scan type set to progressive. If your video is natively interlaced, you must de-interlace it to progressive and you must employ a de-interlace filter that does not result in blending or ghosting artifacts. We recommend an auto-adaptive de-interlace if available.

Stress mark should be marked with [capitals] to indicate the primary stressed syllable, as in: news・pa・per [NOOZ-pey-per] in・for・ma・tion [in-fer-MEY-shuhn]

On living room, mobile, and tablet devices, the color gradient overlay is dynamic and will change based on the cover story art. It is not something we can control on our end.

If the tagline/date messaging doesn’t fit within the 11 syllables max, it can be included as text.

On living room, mobile, and tablet devices, the color gradient overlay is dynamic and will change based on the cover story art. It is not something we can control on our end.

  • No symbols such as registered marks, copyrights, etc.
  • If symbols are required, they will be presented in standard text such as" Brand (TM)".

Q: When is letterboxing allowed and not allowed?

A: When the native aspect ratio is 1.78:1 or 1.33:1 throughout the entire program, there should not be any letterboxing (black bars on top and bottom), nor should there be any pillarboxing (black bars on either side). We should should see an active picture take up the full frame. If the aspect ratio is wider than 1.78:1, such as 2.35:1, matting on the top and bottom is permissible. Additionally, if there is a creative choice to add matting or if there is a mix of native aspect ratios, this is usually waived, but please reach out to your Hulu representative to confirm.

Q: Should the bitrate be constant if delivering ProRes codec?
A: No, since ProRes codec is built to be variable, this is waived.

Q: Can you accept bitrate higher than 30 Mbps?
A: Yes, we can accept bitrate beyond the recommended range for H.264 and ProRes. In the case of ProRes, bitrate will often exceed 30 Mbps due to its variable setting.

Q: What does native frame rate mean?

A: Native frame rate refers to the frame rate the source footage was shot. Whenever possible, we require all videos to be delivered in their native frame rate. This means that no frame rate conversion should be performed, which includes adding 3:2 pulldown for broadcast.

Q: Why do you prefer PCM codec?

A: PCM codec is lossless audio quality, so whenever possible, please deliver PCM audio.

The use of Graphik is acceptable in cases where the Client cannot supply their own typeface.

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Q&A With
Gadi Amit

Founder, New Deal Design

Gadi: The development of serendipity in recommendations is very important. An analogy I use is that of a restaurant. If you go to a good restaurant, you don’t always want to see what you’re looking for. You’re looking for surprises. It’s not the expected, it’s the unexpected. You trust in the restaurant’s atmosphere. You don’t know exactly what you’re getting, but you trust their creativity and that you’ll enjoy whatever they serve you.

Do you think it is possible for a streaming service to become that “restaurant” - a trusted source of serendipitous recommendations?

Gadi: I absolutely do. But it is difficult. It’s a long game. It requires them to build trustworthiness with audiences through genuine content recommendations over the years.

Q&A With
Gandi Amit

Found New Deal Design

Gandi: The development of serendipity in recommendations is very important. An analogy I use is that of a restaurant. If you go to a good restaurant, you don’t always want to see what you’re looking for. You’re looking for surprises. It’s not the expected, it’s the unexpected. You trust in the restaurant’s atmosphere. You don’t know exactly what you’re getting, but you trust their creativity and that you’ll enjoy whatever they serve you.

Do you think it is possible for a streaming service to become that “restaurant” -- a trusted source of serendipitous recommendations?

Gandi: I absolutely do. But it is difficult. It’s a long game. It requires them to build trustworthiness with audiences through genuine content recommendations over the years.

Q&A With
Jonathan Miranda

Emerging Strategy Principal, Salesforce

Another expectation among younger generations seems to be personalization. How are you seeing this play out in media?

Jonathan: If you go into the world of advertising and marketing, customized, personalized advertising is more important than ever before. There’s a realization that eight years of funny commercials that we’ve showed everybody probably for the fourth time, doesn’t work anymore. So there’s a lot of companies moving towards specialized advertising.

How does this type of personalization translate to personalizing content beyond advertising? Who’s going to predict what people will want to watch, and do it first?

Jonathan: It’s not about being the first to predict what people want to watch. It's different. It’s about getting viewers to browse. You want to show them the value of all of the money Hulu has spent and the great range of TV and film for them to choose from.

Q&A With
Julie DeTragila

Head of Research & Insights, Hulu

Julie: There are vast differences between the way under 35-year-olds watch TV and over 35-year-olds watch TV. I grew up in a world where there were maybe 10 channels, and my viewing changed as technology and options changed. Younger viewers started from a really different place. Everything has always been on-demand. Anything they ever wanted to see was available to them, and they therefore have different expectations for TV.

How so?

Julie: One of the things we found with Gen Z is that they really want to be immersed in something for a long time. They want to have content that they can live with for a while; it’s like this long, seamless storytelling. They’ll knock off a couple episodes a night and it will last a couple of months. And then they’ll re-watch it a million times over.

What other shifts have you seen happen-with Gen Z but also more broadly-with the rise of streaming?

Julie: For years, television had to deliver a specific rating. Shows had to appeal broadly or else they wouldn’t survive. And those days are long gone because, with streaming services, shows can reach hundreds of thousands of people or tens of thousands of people and still be considered successful. There’s more experimentation with the types of content; we’re not locked into an hour, a half hour, a comedy, etc. The industry can create really niche shows to appeal to niche audiences, but also simultaneously create big, broad experiences that are shared by millions.

Q&A With
Larissa May

Founder, #HalftheStory

Your work focuses a lot on Gen Zs who, for better or worse, are dubbed “digital natives.” How do you think a generation of digitally native audiences view digital content differently than older generations?

Larissa: I think for young people digital content is a way they’re able to explore their own identities through the story... They want to see themselves and their stories in the content that they’re engaging with.

Tell us a little more about this digital content as Gen Z’s form of self-reflection.

Larissa: Digital content is sort of like a currency. I find that young people want to watch things that their friends are watching so that they can have conversations about it. For example, with Euphoria, young people were just kind of in love with the characters. It was very timely and a bit provocative, and then there was a way that they could see themselves in these stories and connect with their friends about the topics and ideas in the show.

And then also they could almost embody these characters in their own life. I really do think that the TV shows that young people are buying into are actually influencing their culture and their trends and even their language that they’re using.

Q&A With
Richard Frankel​

Global Creative Director, Spotify

What does the future of personalization look like?

Richard: I think it’s all down to trust. We're going to see more opportunity on platforms like Hulu and Spotify where the user trusts us.

That’s really interesting. Another area we wanted to explore is podcasts, and their relationship to video. For example, the show Homecoming is an adaptation of a podcast; the podcast Office Ladies is a spin-off from a TV show. Why do you think the two formats work so well together?

Richard: Anything at all that drives conversation in pop culture, and TV does a lot of that, is worthy of consideration in a podcast environment. Any of these conversations can become multiple audio streams that evolve with experts, interviews, and all kinds of narrative threads that can flesh out characters, or narrative development, or whatever's happening in those shows.