Damian Pelliccione (pictured) is the CEO of Revry, the new LGBTQ digital content streaming service that now reaches over 10 million people in over 100 countries and is available on Apple TV, Chromecast, Roku, Android TV, Amazon Fire, and Pluto TV.
Prior to Revry, Pelliccione worked for top-name brands like Chevrolet and Cadillac to develop new media opportunities for product promotion and marketing. He also worked as head of Business Development for Make.TV a German based live streaming technology and represented Make.TV in Dubai, Singapore and all over North America and Europe.
Pelliccione is a current member of the Producer’s Guild of America New Media Council, TV Academy Of Arts and Sciences and is a member of the International Academy of Web TV. A proud member of StartOUT, Damian is passionate about supporting the LGBTQ community in both authentic media representation and entrepreneurship.
This week the CEO discusses how being one of the first LGBTQ SVOD services has impacted the company. He also dives into the difficulties of standing out in a sea of over 200 OTT services.
There is a sea of OTT platforms out on the market, and Revry seems to have a very specific niche. How do you ensure that the company is discovered by the audience it is targeting and not lost in the clutter?
This is the trick, isn’t it? We are fortunate to have been the first ever global queer streaming service and, as such, received a lot of great press not just in the states but all around the world upon our launch. However, we also have a running commitment to reaching out to countries all around the world to spread the message of inclusivity and acceptance through our one-of-a-kind app. In addition to doing partnerships with organizations all around the world such as PFLAG China and TrevorSpace we also sponsor a number of international film and web fests (Rio Web Fest, MIX Brasil, TLV Festi) where we met local creators and connect with their local queer communities. We are also planning a number of localized initiatives in the coming months and getting more culture and country-specific content to share.
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What went in to the company’s decision to hop into linear programming with Pluto.TV and what advantages does this partnership provide? Do you ever plan to make content exclusive to the platform?
We believe that in today’s day and age, entertainment is all about ubiquity, access, and options. Not everyone wants to watch ads, not everyone wants to pay a subscription fee, not everyone wants to watch TV on their phone. In such a diverse world (even within a demographic), we need to provide a plethora of opportunities for viewers to experience our content and connect with our brand.
Yes, we do have content exclusive to the platform! Providing content that is exclusive to certain types of distribution (e.g. SVOD vs. linear) make sense to help direct our audience to preferable versions of Revry they might not know they would love!
What do you see as the company’s greatest obstacle in 2018 and how are you planning to over come this hurdle?
Our greatest obstacle in 2018 is staying on top of our growing demand while using limited resources to reach a global audience. We will accomplish this mission by continuing to do what has made us great: connect and partner with like-minded, innovative and forward thinking brands, organizations, and platforms and use our combined resources and reach to knock it out of the park!
In what ways has being the first LGBTQ SVOD service been an advantage for the company? And on the opposite end, how has it been a disadvantage?
Being the first is always the best as you get the opportunity to really shape the landscape. In addition, you have a head start to really innovate and get ahead of the curve. We not only have exclusive content but exclusive technology and deals with third party platforms – all of which keeps Revry an innovator in the field and ahead of any competition. Also, Revry is the only LGBTQ+ platform to not only offer narrative, documentary films and original series but host the largest library of queer music, music videos, and podcasts in the world. That diversity of content has really distinguished us in the marketplace, especially with the millennial and gen Z communities. The only disadvantage that I can think of is that people often think we are a lot bigger of a company than we actually are.
You recently entered into a partnership with Funny or Die, which resulted in a FOD channel finding a home on your platform. How does the revenue split work, and can the public can expect to see more of these types of partnerships in the future?
The public can certainly expect to see more partnerships like this. As we grow and expand we are connecting with more and more platforms that love what we’re doing and see it as a perfect opportunity to attract the recently sought-after LGBTQ market. We have become a great access point to this world and similarly other brands and companies can help us reach new demographics.