The EAGLE OVER YONDER© Opportunity

Business & Marketing Introduction

A GLOBAL MEDIA FRANCHISE 2018

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CONFIDENTIAL: The information in this document is intended to generally represent an intellectual property in
which all rights are owned by Sensewise, Inc. and its principals. This and any associated information may not
be copied, shared, distributed or discussed with any party without the prior written release of such specific
permission from Sensewise, Inc. or both of its principles. Please note that this document is intended only to
provide a general summary and introduction to this project and does not, in any way, seek to act as a formal
instrument through which invested funds are attracted.

What Is EAGLE OVER YONDER©?

In business terms, EAGLE OVER YONDER© is an intellectual property that will be anchored by a popular
action/adventure television series for primary network/cable distribution in North America. It intends to
attract domestic and international production, licensing, distribution, marketing/merchandising, investors and
other partners to maximize ROI from its core primary television series revenue opportunities. The television
series intends to also attract a wide range of revenue streams from its directly associated/branded: multiple
streaming video channels; diverse array of music products and touring performing groups; entertainment/
educational publishing products and services; mobile media applications; crowd-sourcing global web
membership network; multiple web portals; social media communities; wide array of merchandise; new
media features in its varied themed venues; directly related ‘historical marker’ participatory experiences and
from its interactive fan/member databases through which many of the enterprises’ current and emerging
products, services, interactive productions and promotions will flow.

In creative terms, EAGLE OVER YONDER© is an exciting intellectual property that will be anchored by a
television series of 60 minute scripted dramas, presented by an age/culturally diverse ensemble cast that carry
out urgent ‘missions in time & space’. Please ask your EAGLE OVER YONDER© contact for additional creative
insights and descriptions.

Structure

During the Development Phase (Phase 1), rights to EAGLE OVER YONDER©, will be retained by Sensewise, Inc.,
subject to the future funding arrangements that will be made. The Development Phase will be managed by
the Sensewise operating company, Wingsprint, LLC. During the Development Phase, a variety of factors will
ultimately influence the organizational issues and structure(s) moving forward.

For the purpose of initiating/evaluating early partnerships, Wingsprint will oversee key business operational
areas, including: Television Series Development; Streaming Video Development; Franchise Content
Development; Educational Development; Themed Venue Development and other key departments. Some of
these departments may eventually be redefined as subsidiary holdings to attract additional, specifically-
focused investment and other revenue.

If the broadcast rights to the television series are licensed by Sensewise to a major Broadcast/Cable Network,
it may be in our interests to support that Network’s domestic & international licensing, distribution and other
traditional media rights agreements. However, it may be in our interests to protect rights to video streaming,
web-marketing/merchandising, community development and/or related rights, as some distribution channels
are still struggling to determine how best to monetize and yet protect the value of the brands they promote.
It will be in our short and long-term interests to effectively evaluate what activities/rights we may be able to
retain and/or retain majority ownership/editorial control over, to maximize our online success and that of all
of our Franchise partners.
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The Marketing Approach, Marketplace Assumptions & Opportunities

As described above, EAGLE OVER YONDER© is a multi-media and multiple component intellectual property
that will be anchored by an action/adventure television series for primary network/cable distribution in North
America.

It is this Omni-channel marketing strategy, which provides continuity and easy access to streamline the
customer journey, while expanding the brand’s awareness and abilities to ‘engage, enlist, empower’ its
diverse fan base.

It is likely that, due to the lead timing, funding requirements and traditional successful business models
involved, the primary television series and theme park pavilion will be the components that will attract initial
investments and marketplace interest. However, it’s important to note that continuing changes in how these
traditional media must adapt to meet marketplace transitions, may entice early interest in other project
components.

The evolving intersection involving television, streaming video, mobile, social media, and retail technology
sectors, are forcing dramatic new, personalized use of both B2B & B2C experiential, inbound and content
marketing strategies. Most new TV and Theme Park concepts will now require multi-channel/responsive
project components. Further, both traditional and emerging primary media distributors (like network, cable
TV) will increasingly partner with (acquire/be acquired by) major mobile, internet, social media and other
firms that will require customer acquisition, retention and revenue generation across industry lines. Those
distribution channels, even now, are moving ahead of the pace that new content can be provided. That’s a key
reason why EAGLE OVER YONDER© was created with its various screens and channels.

The ‘upside’ in a typical SWOT analysis includes the industry transition and diverse distribution channels which
help to set EAGLE OVER YONDER© apart from competitive scripted television dramas. Most others simply
‘plug-in’ social media, experiential marketing, and mobile integration essentially forcing a ‘round peg in a
square hole’ as an afterthought or add-on. In our case, we’ll launch our content with technologies and
marketing strategies that we will integrate from the outset. The ‘double-edged sword’ element in this project
is briefly summarized by a current marketing/advertising buzzword, ‘personalization’. This consumer
engagement, activation, and retention approach is proving itself to be more appealing to consumers and more
profitable for marketers across industry lines. Consumers recognize when a promotion is ‘forced’ by a network
or advertiser. It will be a more expensive strategy to employ, because it means content creators (like EAGLE
OVER YONDER©) will deliver more localized and personally intriguing content in each of the regions we have a
presence. However, for that reason, it will yield enhanced returns, not only at the launch phase, but as an
ongoing presence in each of the project’s channels.

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Purpose, Goals & Work Product

EAGLE OVER YONDER© Phase 1 (Development Phase) goals will be kept as simple as possible for three
reasons. First, to ensure success, we’ll need to test/filter the involvement of other world class creative,
marketing and management professionals, working with like-minded teams. Second, because the list of
options, vendors, strategies and technologies is growing exponentially. We need to filter through this clutter,
fix next-tier expectations, prioritize our organizational needs and get on with meeting them. Third, the pace of
change in television, in technology and in other relevant considerations is increasing. We need to be clear
about who and what we are (brand, story arc, etc.), yet nimble enough to adapt to the marketplace.

EAGLE OVER YONDER© Phase 1 (Development Phase) efforts will yield a broad array of assets and clarity on
the issues raised above. Included in this list are:

1) The integration of prior historical creative and marketing initiatives used to create earlier iterations
of this project that will be filtered, updated and refreshed with more current strategies/technologies.
This includes multiple television program treatments and dozens of story outlines drawn from history,
for both live-action and animated versions. It also includes initial character development and
character/story arcs. It outlines the enterprise’s original creative dynamic, describing the concept’s
history, method, dramatic action and purpose. On the business side, the original business
development perspective will be leveraged, including original concepts for branding, marketing,
merchandising, production and interactive elements. While its earliest descriptions were designed to
expand the reach, maximize revenue/ROI and protect the reputation of the EAGLE OVER YONDER©
brand for the long-term, much has changed in the creative and business marketplace;
2) The Master Creative Guide that outlines scenarios for character development, 'lost stories', scripts,
locations, production requirements and budget estimates, music integration (with TV series),
set/costume designs, and other related plans/activities;
3) The Master Business Guide that outlines scenarios for branding, business development parameters,
communications, media, marketing, advertising, promotions, events, social media, web sites,
production/licensing/distribution/marketing/merchandising/ancillary activity budget estimates and
other related plans/activities. This includes a feasibility study and business plan for the first Theme
Park Pavilion, included within an overall project business plan;
4) The Creative Alliance Network consisting of various artists, producers, production/post-production
teams, CGI and other effects resources, agents and other relevant vendors to be considered
appropriate/valuable/relevant participants in the next project phases;
5) The Marketing Alliance Network consisting of various production, licensing, distribution, marketing
and merchandising firms/vendors which may be considered appropriate/valuable/relevant participants
in the next project phases. This group may include those at domestic/international television
production houses/networks/cable operations, digital video/audio/book/music/mobile/social media,
opinion leaders and vendor firms.

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Timing, Budget & Cash-Flow Needs
EAGLE OVER YONDER© has a multi-stage development process. We refer to the first stage as the
Development Phase or Phase 1. Phase 1 lays the content and other ground work for the entire project.

For the primary television series, Phase 2 actually consists of Phase 2a and 2b. Phase 2a is Pre-Production and
Phase 2b is Production.

For the Theme Park Pavilion (TPP), Phase 2 actually consists of Phase 2a, 2b and 2c. TPP Phase 2a is Site
Development, Phase 2b is Concept Development and Phase 2c is Themed Venue Interconnection and Primary
Site Pre-Construction.

Specific details on the timing, budget(s) and cash-flow requirements are readily available to qualified inquiries.

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Product/Service/Content Inventory

Some or all of these resources may vary significantly based upon actions taken by investors, partners,
licensors, vendors, competition and the costs of available resources. Our intent is to use third-party
vendors/contractors in the early stages and gradually build them ‘In-house’ over time, as increased net
revenue and clarity of needs increase. This approach will gradually deliver increased net revenue and enable
internal business units to attract additional revenue from external projects. We anticipate a growth in
international interest in the franchise. We have already received early inquiries regarding construction of
Theme-Park Pavilion sites on other continents.

EOY Video - (Primary TV Series, 3 Initial Streaming Video Series)

Education – (Classroom, Home, Community, Guides/Gamification)
Themed Venues – (Theme Park Pavilions, Regional Themed Venues)
Membership – (Participation Portal, Tiers, Gamification, Merchandise/Travel Benefits)
Publishing – (Event/Hero, Print, Digital, Music, Games+)
Music – ('Live' Performance, Touring, Talent Discovery, Digital/'Live' Showcases)
Audio - (Podcasts, Tour Narration, Site/People/Event Explainers, Mini-Docs)
Video - (VR/AR, Webcasts, Site/People/Event Explainers, Mini-Docs, Documentaries)
Mobile, Games – (Sites, Ring-Tones, Themes, Games, Gamification, Cause)
Web, Social Media, User Experience – (Access Portals, Sites, Key Social, Crowd-Sourcing)
Travel Packages - (Show Sites, Themed Venues, 'Live' Music & Other Events)
Research, Content, Context, User Experience-(Participation)
Marketing/Branding - (Content, Corp, Series, Education, Music, Themed, Cause)
Advertising, PR, Publicity, Promotion, Sponsorship - (Episodes, Products, Services, Cause)
ecommerce, mcommerce, Merchandise, Distribution, Fulfillment

Preliminary Revenue Projections

The purpose of the Development Phase is to assemble insights and strategies from world class advisors,
partners and vendors to showcase our content as effectively as possible. We intend to begin working
relationships that are expanded during Phase 2 and future stages of development. We intend to attract the
appropriate ‘buyer participants’ that will enable us, after the Development Phase, to compensate those
investors, partners and vendors at a level they would expect from a successful global media franchise.

Obviously, projections ahead of those discussions and the negotiations with potential distributors, licensors,
merchandisers, advertisers, sponsors, agencies and others are speculative, but we’ve attempted to compile
our estimates from real world examples. Revenue/income generators and very conservative projected
revenue estimates include, but are not limited to:
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 License of Domestic TV Rights (Primary Series): $ 40 million++
o TV advertising spending is projected to grow from $69.2 billion last year to $71.1 billion this
year and $81 billion in 2019 (2014-2019 CAGR of 3.2%).1
o In Q2 2015, Broadcast and cable TV networks offset some of the decline in ad spending by
increasing ad loads (by 2.8% and 4.6% more minutes, respectively).2
o Netflix paid $100 million up-front for two 13-episode seasons of its original series House of
Cards. 3
o Netflix has ramped up original production, with plans for 320 hours of new and returning
original series in 2015 and is expected to spend more than $450 million on original
programming this year, up 88 percent from $243 million in 2014.4
o US Networks roughly expect $135K x 28 spots x 13 shows = $49,140,000.
o Cancel? The Networks’ Reasons Why Not.5
o In 2013: Networks were selling (14 min and 15 seconds or) 28 30-second spots, in hour-long
scripted dramas.
o The Number of commercial minutes per hour is increasing annually on American TV.
o By Sept ’14, each 30-second spot on selected scripted dramas cost: Madam Secretary
($73,525), Criminal Minds ($135,789), and Sleepy Hollow ($202,500). 6
o By Sept ’15, each 30-second spot on selected scripted dramas cost: Madam Secretary
($99,587), Blindspot ($209,700), and Empire ($497,364).7
o TV households with at least one Millennial (18-34; 58%) and those with at least one Gen Xer
(35-49; 53%) also watch OTT content via a connected TV.8
o The growth in digital video revenue in the US will continue through 2020, significantly
increasing its demographic reach and usage.9
 License of International TV Rights (Primary Series): $13 million++
o For U.S. studios, the international TV-licensing bazaar has never been more lucrative.10
o ‘The X-Files,’ ‘Rush Hour’ Drive Buzz Among International Buyers at LA Screenings.11
o Content-licensing to digital and international outlets has become a crucial part of the profit mix
for scripted series.12
o Since the TV Series is more about the adventure and humanity than the location, there should
be substantial global appeal.
o Both ABC and CBS have scripted drama series distributed in more than 100 nations.
 Streaming Video Series Revenue (English): 26 x 60 min shows - $1.3 million+
o July, ‘14, CBS makes up to 20% more ad dollars per viewer from Internet-streamed programs
than TV. 13
o Netflix has ramped up original production, with plans for 320 hours of new and returning
original series in 2015 and is expected to spend more than $450 million on original
programming this year, up 88 percent from $243 million in 2014.14
o Targeting Millennials and Gen Z, each episode can generate 55% of the revenue from YouTube
or Facebook. 15
o On its own streaming channel, targeted advertising, sponsorship, product placement may
generate more income, brand awareness and lead generation.
o Online advertising is expected to overtake TV advertising in size in 2019, with the former
reaching $83.9 billion on the back of a 2014-2019 compound annual growth rate (CAGR) of
11.15%.16
 Streaming Video Series Revenue (Spanish - Hispanic US+): 26 x 30 min shows - $1 million+
o By telling personal stories from Cuban, Puerto Rican, Mexican and South American cultures, we
should also draw new, loyal viewers to the primary TV series.
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 o Recent research by The Council for Research Excellence found that Hispanics were the most
likely to be the most socially engaged viewers.17
o Targeting Millennials and Gen Z, each episode can generate 55% of the revenue from YouTube
or Facebook.
o On its own streaming channel, targeted advertising, sponsorship, product placement may
generate more income, brand awareness and lead generation.
 Streaming Video Series Revenue (TBD): 26 x 30 min shows - $1 million+
o Will it be more important early to draw younger European fans or to start a longer campaign to
build a Chinese fan base? Either should draw new, loyal viewers to the primary TV series.
o When it comes to the languages Europeans consider the most useful after English, things
become even more illuminating, with Russian, German and French the most dominant.18 19
o Targeting Millennials and Gen Z, each episode can generate 55% of the revenue from YouTube
or Facebook.
o On its own streaming channel, targeted advertising, sponsorship, product placement may
generate more income, brand awareness and lead generation.
 Theme Park Pavilion (FL, more later): Solo: $1.5 million/yr.; Park Attraction: $3 million/yr.+
o Prototype design and construction planned for Florida. Designed by Disneyworld’s Peter
Alexander, to be exciting and reproduced in modules, elsewhere.
o Pavilion will have merchandise, gift shop, but also digital/bluetooth access to enable online
conversions and m/commerce.
o Performers (musicians, storytellers, and comedians) will entertain fans in line, promoting their
regional tours.
o Eagle preservation, education and observation will generate sales and donated revenue.
o New investors and partners will be attracted to what may become a separate business unit.
o Revenue potential is substantial. Leading amusement and theme park companies worldwide in
2014, listed by revenue.20
 Regional Themed Venues (US, branding, lead gen, distribution): $15K-$150K/site/yr. (10-25 sites)+
o Pavilion performers will tour to various EOY branded Regional Themed Venues, reinforcing the
‘live’ music branding and creating local awareness/events.
o There are 123,000 libraries and 35,000 museums in the U.S. 169 million people in the U.S. over
the age of 14 (69% of the population) are library users. 148 million people in the U.S over the
age of 18 visit a museum annually.21
o MUSEUM UNIVERSE DATA FILE.22
o Regional Themed Venues will be existing historical or related sites where awareness and
attendance campaigns are needed.
o EOY will also offer (existing) museum scripting/production services, cross-promotion via the
EOY web network with fans/potential tourists.
 Music (Performance, label, Publishing): $1.5 million/yr.+
o A key EOY component is ‘live’ music and other ‘experiential’ activity, reinforcing the brand.
o Performances, record label, publishing are projected to either attract modest revenue (if
streaming music continues) or substantial revenue (if current streaming music compensation
ends). We may build our own streaming music channel.
o While there’s roughly an equal weight in overall spending between live events and recorded
music, Millennials (18-34) and Hispanics skew more towards live events.23
o Digital Music downloads are projected to remain essentially flat, streaming music will increase,
as will the number of its user, through 2019.24

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 o Audio production for ring-tones, games and more will add to the revenue stream and brand
awareness.
 Publications – Print & Digital (Books, Guides, Maps, more): $.5 million/yr.+
o Branded paperback novella series that extends stories from the Primary TV Series, and perhaps
one or more of the Streaming Video Series.
o Print Book Readership Continues to Decline; E-Books Increase in Popularity.25
o Revenue from eBooks alone will rise from just under $5 billion in 2015 to more than $7.24
billion in 2020.26
o Branded promotional items, with AR features, extending themed venue stories and used as
perks/gamification/ ecommerce tools for the Membership Network.
o The 2014 promotional product distributor sales volume figures reflect an increase of 1.09%
percent in distributor revenues over 2013. This increase puts the promotional product
industry’s revenues at $20,042,228,931 up from $19,826,873,723 in 2013.27
 Digital Web Network (Global): $2.5 million/yr.
o Branded assembly of global digital web, conversion, themed venues, creative, educational,
business sites, pages, portals and reference links.
o Multi-screen (responsive) interactive content exchange channels to distribute and attract
audience participation and e/mcommerce.
o Branded advertising, sponsor, partner and merchandising platform delivering global access in
all media, targeting by geography, persona, content interest, more.
o Trust in Advertising: Who’s Got It, and For What Formats.28
o The world’s top 21 social networks have 5.7 billion+ user profiles.29
 Mobile Content Distribution (Global): $1.5 million/yr.
o Responsive sites and pages to distribute video, audio, text and access to other branded content.
o Morgan Stanley: No, Apps Aren’t Winning. The Mobile Browser Is. Mobile browser audiences are 2X
larger than app audiences and growing faster.30
o Mobile Now Forecast to Capture the Majority of US Digital Ad Spending in 2015.31
o Mobile Messaging and Social Media 2015.32
o Increasingly essential channel(s) to attract, retain, engage global consumers.
 Social Media (lead Gen, Nurturing, Loyalty): $.25 million/yr.
o Earned, owned, paid initiatives will drive awareness and fan participation.
o The 25 Most Devoted Fan Bases.33
o Partner/affiliate advertising and related options. These New TV Shows Are The Leaders When It
Comes To Social Engagement.34
o Fortune 500’s Social Media Use Continues to Expand.35
o Mobile Messaging and Social Media 2015.36
o Revenue in the "Social Media Advertising" segment amounts to mUSD 9,411.4 in 2015 and will
reach 18,963 by 2020.37
 Games and Gamification (Digital, Board, Other): $.5 million/yr.
o Traditional games, video/learning games will extend the brand and attract younger fans.
o Gamification will boost membership, loyalty, educational campaigns and generally help to
nurture/retain existing customers.
o Gaming revenue is expected to show an annual growth rate (CAGR 2015-2020) of 3.96%
resulting in a market volume of mUSD 13,034.7 in 2020.38
o Consumers will spend $5.1 billion on virtual reality gaming hardware, accessories and software
in 2016. That’s up from the $660 million spent in 2015, says the marketing leader. Meanwhile,
the global market is expected to grow to $8.9 billion in 2017 and $12.3 billion in 2018. 39
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 Educational Initiatives (Mostly Digital, Mostly Free, but attract donations): $.5 million/yr.
o Sponsorship/advertising that targets specific audiences, specific venues, and specific locations.
o Experiential, product sampling opportunities.
o Use of educational media among children in the United States as of June 2013.40 Mobile device
and app usage in education.41
 Transaction Activity: $9-$25+ million/year42
o Conversion/Landing Pages/Sites (Global)
 Ecommerce and mcommerce portals that offer incentives and simple, easy consumer
transactions.
 Effective Series lead generation tools/links, receiving revenue and data.
 Gathers consumer data that will be reused to boost other awareness and revenue.
o Database Marketing/Merchandising (Global) (yr. 2+)
 Customer Relationship Management (CRM) tools will enable project-wide consumer
data collection, help us recognize interest areas and remarket.
 Marketing automation tools will enable improved management of consumer data,
distribution of email and other content formats to the most interested fans.
 Direct Media Response Rate, CPA and ROI Benchmarks.43
o e/mcommerce (Global)
 ecommerce access enables earned revenue and affiliate marketing campaigns.
 mcommerce access enables earned revenue and affiliate marketing campaigns.
 mcommerce will build millennial/gen z awareness/engagement/revenue.
 In the "ecommerce" market, there are 46.4m users (within a total of 163.5m) in the 25-
34 age group in 2015; by 2020 that group will include 53 m (within a total of 185.7m).44
o Retail Merchandise Distribution (Global)
 Licensing of merchandise by territory in traditional distribution channels.
 Licensing of merchandise into secondary market industries: travel/tourism;
museum/libraries; book/gift shops; experiential (music, historical, games, sci-fi) events
and venues.
 The $241.5 billion in worldwide sales in licensed merchandise in 2014 translated to
$13.4 billion in royalties. The United States and Canada accounted for nearly 60 percent
of the sales, Europe was just under 25 percent and Asia was just shy of 10 percent. 45
 The Top 10 Global Licensors reported an increase in retail sales of more than $14 billion,
jumping from $112 billion in 2012 to $126.9 billion in 2013, accounting for slightly more
than 50 percent of overall licensed product retail sales. A total of 59 global licensors
reported retail sales of $1 billion or more, up from 56 licensors in 2012, representing
$225 billion in retail sales or 90 percent of total licensed product retail sales. 46
 Content Research/Writing/Development/Distribution Services (Global): $.5 million/yr.
o Content Management System (CMS) tools will enable effective management of stories, photos,
video, audio, reference text, links and much more.
o DITA/XML tools will engage time and budget efficiencies in translating English content into
other languages, adding more localization over time.
o Once in place, services to other affiliated projects.
o Targeting media projects that combine outbound and inbound marketing strategies.
 Design/Production (Art, Brand, Product, Set, Production, more): $.1 million/yr.
o Resale of partner/vendor/consultant expertise and assets, when extending project branding or
other objectives.
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  Production Services (Audio, Video, Digital, AR/VR, more): $.5 million/yr.
o Resale of partner/vendor/consultant expertise and assets, when extending project branding or
other objectives.
 Digital Means Modular: $1 million/yr. (yr. 3+)
o TV Power Shifts From Network Biz to Content Ownership.47
o The creation of digital content in any format is inherently modular. These modular units make
what is generally ‘evergreen’ content, even more so. Music, comedy and other video, audio,
text, photo and other content can be selectively replaced/updated and remarketed for ongoing
new income.
 Branded Theatrical Feature Films: TBD
o Extending the brand to new screens and new international audiences.

The conservative projections listed above total much more than $75 million in annual income. Frankly,
we ultimately expect a multiple of that amount. The true value of this franchise is not line-item revenue, but the
long-term impact of the BRAND, that unites and reinforces each project attribute and component. We expect
that these and other line items will attract substantial income, particularly if the primary TV series is launched in
the US with the right broadcast/cable network promotional participation. It may be likely that one or more
buyers will license a package of rights to produce, distribute and merchandise the primary series; while ‘cherry-
picking’ the other associated project components because, “that’s how we’ve always done it”.

Our challenge is to make the case that by licensing the rights to produce/distribute ‘the complete brand’ with a
longer-term commitment will be far more profitable over time, because that larger footprint will leverage every
project component. Those long-term, brand-driven global rights could attract income/revenue of hundreds of
millions, and perhaps in time, more than a billion US dollars.

EAGLE OVER YONDER©

All we need to begin… is you.

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Citations

1
http://www.marketingcharts.com/traditional/us-online-and-traditional-media-advertising-outlook-2015-2019-55869/
2
http://www.marketingcharts.com/television/us-ad-spend-trends-by-medium-in-q2-2015-59448/
3
http://money.cnn.com/2013/02/01/technology/innovation/netflix-house-of-cards/
4
http://recode.net/2015/01/20/netflix-shows-a-surprising-profit-and-delivers-the-subscriber-numbers-wall-street-wanted/
5
http://www.broadcastingcable.com/blog/bc-beat/cancel-networks-reasons-why-not/144674
6
http://adage.com/article/media/football-big-bang-tv-s-expensive-ad-buys/295130/
7
http://adage.com/article/media/ad-pricing-chart-sunday-night-football-empire-broadcasts-most-expensive-ad-
buys/300516/
8
http://www.marketingcharts.com/online/ott-content-connected-tvs-57328/
9
http://www.statista.com/outlook/201/digital-video#
10
http://www.wsj.com/articles/tv-studios-court-licensing-deals-in-bustling-foreign-markets-1416454383
11
http://variety.com/2015/tv/news/x-files-rush-hour-international-tv-buyers-la-screenings-1201504157/
12
http://variety.com/2015/tv/news/tv-power-shifts-from-network-biz-to-content-ownership-1201499840/
13
http://variety.com/2014/digital/news/cbs-makes-up-to-20-more-ad-revenue-online-than-tv-per-viewer-research-chief-
1201256077/
14
http://recode.net/2015/01/20/netflix-shows-a-surprising-profit-and-delivers-the-subscriber-numbers-wall-street-wanted/
15
http://recode.net/2015/07/02/facebook-and-youtubes-revenue-share/
16
http://www.marketingcharts.com/traditional/us-online-and-traditional-media-advertising-outlook-2015-2019-55869/
17
http://www.marketingcharts.com/online/hispanics-prove-active-second-screeners-42894/
18
http://www.statista.com/chart/3579/europes-most-useful-foreign-languages/
19
http://www.statista.com/chart/3580/europes-second-most-useful-foreign-languages/
20
http://www.statista.com/statistics/258810/theme-und-amusement-park-companies-ranked-by-revenue/
21
https://www.imls.gov/about-us
22
https://www.imls.gov/research-evaluation/data-collection/museum-universe-data-file
23
http://www.marketingcharts.com/traditional/how-americans-spend-on-music-59371/
24
http://www.statista.com/outlook/202/digital-music#
25
http://www.marketingcharts.com/traditional/print-book-readership-continues-to-decline-e-books-increase-in-popularity-
25769/
26
http://www.statista.com/outlook/213/ebooks#
27
http://www.ppai.org/inside-ppai/research/Documents/2014SalesVolumeSheet.pdf

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28
http://www.marketingcharts.com/traditional/trust-in-advertising-whos-got-it-and-for-what-formats-59710/
29
http://blogs.adobe.com/digitaleurope/social-media/social-networks-care-2014/
30
http://marketingland.com/morgan-stanley-no-apps-arent-winning-the-mobile-browser-is-144303
31
http://www.marketingcharts.com/online/mobile-now-forecast-to-capture-the-majority-of-us-digital-ad-spending-this-year-
58696/
32
http://www.pewinternet.org/2015/08/19/mobile-messaging-and-social-media-
2015/?utm_content=buffer78785&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
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http://www.vulture.com/2012/10/25-most-devoted-fans.html
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http://www.adweek.com/news/television/these-new-tv-shows-are-leaders-when-it-comes-social-engagement-167432
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http://www.marketingcharts.com/online/fortune-500s-social-media-use-continues-to-expand-45234/
36
http://www.pewinternet.org/2015/08/19/mobile-messaging-and-social-media-
2015/?utm_content=buffer78785&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
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http://www.statista.com/outlook/220/109/social-media-advertising/united-states#market-revenue
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http://www.statista.com/outlook/203/109/digital-games/united-states#
39
http://fortune.com/2016/01/05/virtual-reality-game-industry-to-generate-billions/
40
http://www.statista.com/statistics/282015/use-of-educational-media-among-children-in-the-us/
41
http://www.statista.com/study/17598/mobile-device-and-app-usage-in-education-statista-dossier/
42
http://www.licensemag.com/license-global/top-150-global-licensors-0
43
http://www.marketingcharts.com/traditional/direct-media-response-rate-cpa-and-roi-benchmarks-53645/
44
http://www.statista.com/outlook/243/ecommerce#
45
http://www.hollywoodreporter.com/news/licensed-merchandise-scores-2415b-2014-800452
46
http://www.licensemag.com/license-global/top-150-global-licensors-0
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http://variety.com/2015/tv/news/tv-power-shifts-from-network-biz-to-content-ownership-1201499840/

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