Our content distribution activities are an essential part of our multi-service operator strategy. Over the years, we have tried to offer our customers diverse and high quality content. By the end of 2020, our Group had already connected nearly 10 million households to our TV universe.
Our content strategy relies on developing partnerships with rights holders and service providers.
In our role as an aggregator and distributor, and thanks to our powerful networks, we help our customers enjoy their favourite content across all their screens.
Content as a field of innovation and tool for enhancing our networks
Because our networks, whether fibre or mobile, allow us to transmit ever more data, they open the path to groundbreaking new experiences. Augmented and virtual reality content illustrates the possibilities that 5G now offers in Europe.
Networks and content: an alliance leading to new uses and customer loyalty
To respond to customers’ changing uses and provide an unmatched experience, in particular through fixed and mobile broadband networks, Orange is driving the development of legally-available digital content. The wealth of offers and multiplication of uses also contribute to new forms of ARPO (Average Revenue Per Offer) and increases customer loyalty.
Investment of €100 million over 5 years towards the coproduction of series and ongoing commitment to film
When Orange Content was created in 2017, Stéphane Richard reaffirmed the Group’s content strategy by announcing an investment of €100 million over 5 years towards the coproduction and purchase of series through its subsidiaries OCS and Orange Studio. This commitment came to life through The Name of the Rose, the first mini-series under the name OCS Originals, which was broadcast on OCS in March 2019. During 2020, two new original series were broadcast on OCS: Devils and Cheyenne & Lola.
When it comes to film, OCS renewed its commitment signed with the cinema industry at the end of 2018 for a further investment €125 million over 3 years (2019-2021) in French and European film production. It has also shortened the window-release schedule in order to screen movies not long after their cinema release to respond to the expectations of our 3 million subscribers.