Case Study : Developing The House Of Cards Project Essay

Case Study : Developing The House Of Cards Project Essay

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For the purpose of the assignment, MRC’s analysis has been done under the scope of its current position (2011 in the case-study) of developing the House of Cards project.

1. The 5 Cs:

1.1 Company: MRC is an award-winning boutique film and T.V. production house, with a reputation of “director-driven projects”. MRC has focused on creating new content, and attracting top talent by giving the filmmakers the financial support and a flexible atmosphere to develop the projects; they put significant efforts on issuing contracts that align creativity with profitability. MRC started with strength in the film industry and obtained significant awards; it then moved its presence to the TV space attracted by the larger margins, and began experimenting in the online space with short episodes. The successful business model with a strong reputation and capabilities to attract top talent, allowed MRC to develop the idea of House of Cards, a TV series with excellent content, and A-list film actors and director bringing the content to life on the small screen. MRC’s relative young presence in the industry and boutique structure creates risks, especially as the firm is taking the opportunity to create a new value proposition full of new and unknown variables while competing within an oligopoly market structure.
1.2 Customers: As House of Cards is brought to the marketplace, MRC’s first customers are the potential networks who bid for the rights to the show. The potential customers are segmented in television networks and online video services. The television segment is divided in 3 types of networks: premium cable networks, basic cable networks, and broadcast networks. However, MRC is not considering broadcast networks as a potential customer for...


... middle of paper ...


...; MRC needs to shift from being platform-centric to platform-agnostic, and accepting Netflix’s deal would be a stepping stone in this evolutionary process for the firm.
The production studio is ignoring streams of revenue that can be attractive. In the current age of media, the airing of a production is not the only revenue stream; consumers are increasingly interested in the engagement opportunities that turn a production into a lifestyle, a 360-degrees immersive experience where the consumers own the House of Cards experience and dictate how the production is consumed. This inclusion of experiential marketing in the strategy can be facilitated through the usage of the online services (Netflix) as a platform for distributing the product, as there is a 1-to-1 relationship with the consumer and real-time statistics to offer the end-customer the experiences it wants.

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