Whereas Lizzie Bennet managed to make money thanks to YouTube advertising, merchandizing and a degree of product integration it didn’t produce money from every channel the series played out on. This time around, despite having only 80% of the audience of the first series, Emma Approved is pulling in five times the cash. Every platform is being monetized.
Really? I hadn’t noticed.
“They go about this subtly.”
Really? I think our definitions of subtle are different…
This word. I do not think it means what you think it means.
The article mentions the Kickstarter total, which makes me wonder if that money might be part of the “five times the LBD money” figure. Probably not, but the numerous proofreading lapses in the article don’t inspire much faith in its being strictly accurate in every particular.
I suppose it’s also possible that there’s an indirect effect, in which Kickstarter money is somehow being leveraged into some kind of sales/marketing effort that is helping to generate the EA product-placement revenue. But again, at least taking Bernie Su’s previous comments about the Kickstarter allocation at face value, probably not.
So either Bernie Su intentionally or unintentionally misled the audience at the event about how much money EA is making, or the article’s author got it wrong, or the figure is accurate, and EA really is making 5X the revenue that LBD did, even though its audience is smaller.
That’s pretty interesting, if true. Maybe it’s more a measure of how little revenue YouTube advertising actually delivers than anything else. But it kind of means that from a business point of view, PD might essentially feel immune to the sour reception EA has received among some LBD fans. From their point of view, EA might be viewed as a much bigger success than LBD was. If it’s making 5X the revenue (Kickstarter excluded), then they would kind of have to view it that way. Wouldn’t they?