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Snapchat’s new Lens celebrates tomorrow’s NFL kickoff

Snap and the NFL recently announced a multi-year extension to their content partnership. Now, with the season starting tomorrow, they’re revealing more details about what kinds of content fans can expect to find on Snapchat.

For tomorrow night’s kickoff, they’ve created a special augmented reality Lens that takes fans from the Kansas City Chiefs’ locker room (the Chiefs are hosting the Houston Texans) through the tunnel and into Arrowhead Stadium, where they’ll be greeted by Kansas City’s Patrick Mahomes and Houston’s Deshaun Watson.

The Lens will be available nationally, and as regular games begin, it will transform into an entrance into a more generic NFL stadium.

After that, the NFL will be creating a highlight show that updates each game day, plus three weekly shows — “Rankings” (which offers historic NFL facts designed to encourage fan debates), “Mic’d Up” (a behind-the-scenes look at what coaches and players say during the games) and “Predictions.” The NFL will also continue producing “Real Talk with the NFL,” a show that highlights the league’s social justice initiatives.

Ian Trombetta, the NFL’s senior vice president of social and influence marketing, told me that all of this content is created by the league’s social lab in partnership with Snap. And while the NFL continues to see high ratings on traditional linear TV, he said Snapchat plays “a really critical role for us.”

NFL Kickoff Portal Lens

Image Credits: Snap

“It’s always about: How do we engage new audiences, younger audiences, and do it in ways that are very authentic to the platforms?” Trombetta said. “We don’t look to do things that are just content dumps.”

Snapchat says that viewership of NFL content increased 80% during the 2019-20 season, and that 90% of viewers were under the age of 35.

Of course, it’s going to be a strange season. Like other professional sports organizations, the NFL has to test its players for COVID-19, and different teams are taking different approaches toward allowing fans in the stadiums — many games will be taking place without fans at all.

.@NFL launches @Snapchat AR portal celebrating tomorrow’s kickoff https://t.co/mOqNzfZ2wQ @TechCrunch @anthonyha pic.twitter.com/qRKWi282mD

— Russ Caditz-Peck (@RussCP) September 9, 2020

“The [NFL] organization is leaning on us more than they ever had,” Trombetta said. “We didn’t ignore the fact of what’s happening, anyone would be crazy to think we could totally shut that off. There has to be an acknowledgement of it, while also finding new ways, very seamless ways for fans to engage and celebrate rituals around games that they’ve established over years and decades.”

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Original Content podcast: Netflix’s ‘High Score’ is a selective tour through video game history

“High Score” is a new Netflix documentary series that looks back at the early years of the video game industry.

Across six episodes, key developers, artists, executives and even players discuss the initial arcade and home console boom, the emergence of Nintendo, the rise of adventure and role-playing games, the battle between Sega and Nintendo, the success and ensuing controversy over fighting games like Mortal Kombat and the development of 3D gameplay in Starfox and Doom.

We review “High Score” on the latest episode of the Original Content podcast, which inevitably leads us to get a little wistful our own relationship with these classic games.

For older gamers, the series provides some pleasant jolts of nostalgia, and it’s also a useful primer for anyone who isn’t familiar with the industry’s history. It also taking time to highlight some lesser-known stories, and it’s full of fun touches, like retro animation illustrated moments that weren’t captured on film.

It’s worth remembering, though, that “High Score” focuses on just a few key figures and a few key games, which means that a number of important developments are ignored or only touched on briefly.

You can listen to our review in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also follow us on Twitter or send us feedback directly. (Or suggest shows and movies for us to review!)

If you’d like to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:33 “High Score” review

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Bingie is an app for all your streaming recommendations and debates

If you’re overwhelmed trying to choose the next movie or TV show to watch on Netflix, Hulu, Disney+, HBO Max or any other streaming service, Bingie could be the app for you.

You may recall a previous wave of TV recommendation apps from a decade ago, like Viggle and GetGlue. Those apps have largely disappeared, with most of us relying on social media and group chats when we want to talk about TV with our friends.

However, Bingie’s co-founder and CEO Joey Lane pointed out that the world has changed since then, with people needing more guidance than ever when it comes to navigating the streaming world. (Obligatory plug: TechCrunch has a podcast devoted to that very proposition.)

“I think the time is unique,” Lane said. “The amount of content that’s out there makes it such a big challenge.”

He recalled surveying potential users at the beginning of the year and having them say, “Let me show you this notes section of my phone with 60 titles and no idea where to watch them [and] no one to tell me, ‘Dude, that was horrible’ or ‘That was really great.’ ”

Bingie screen shot

Image Credits: Bingie

So with Bingie, you can search for different shows and movies, then share a recommendation link with a friend and start a chat about that specific title, with a direct link to wherever people can stream that title. And if your friend isn’t on Bingie already, the app allows you to send them a link via SMS.

The Bingie team created the app (launching today, and currently iOS-only) with digital agency Wonderful Collective, and Wonderful’s Matt Knox is a co-founder of the startup. He described the startup’s approach to content discovery as “the human algorithm,” where you’re getting recommendations from people you care about, rather than relying on Netflix’s technology.

Lane added that his hope is to make Bingie the home for all your conversations and arguments about this content.

“There’s no politics, there are no pictures of food,” he said. “Here, it’s all about sharing this really, really fun content that’s out there in TV shows and movies.”

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Tencent wants to merge China’s esports archrivals Douyu and Huya

The war between two of China’s largest esports companies may soon come to a truce at the will of their investor, Tencent.

Tencent, the world’s biggest games publisher, announced late Monday a proposal to consolidate Douyu and Huya, the competing live-streaming sites focused on video games. Rather than paying in cash, the deal will see the pair enter a stock-for-stock merger.

The proposal is non-binding, but Tencent has paved the way for it to go through. In a separate deal, the entertainment giant agreed to pay Joyy, part-owner of Huya and the company behind TikTok’s serious rival Likee, $810 million in exchange for 30 million shares. Tencent will also buy 1 million shares from Huya CEO Dong Rongjie. Upon the transaction, Tencent will hold 51% of Huya’s shares and 70.4% of its voting rights.

Tencent is also the largest shareholder of Douyu, with a 38% stake and voting power.

What this means is the esports platforms that have long fought neck and neck for audiences and live-streaming hosts may soon need to work together. That’s good news for investors who have been hemorrhaging cash.

NYSE-listed Huya has a current market cap of $5.27 billion and Nasdaq-traded Douyu is worth $4.44 billion, giving the duo a combined value of around $10 billion. The pair will together control more than 300 million monthly esports users. By March, Douyu had 158 monthly active users and Huya claimed 151.3 MAUs, though there can be overlaps.

The question is who will be in charge of the consolidated behemoth. Could Mr. Dong be relinquishing control of Huya as he gives up a considerable amount of shares? Joyy already signaled its retreat in the first quarter when it stopped folding Huya’s operating results into its own report.

Ammo for Tencent

Industry observers believe the merger can significantly expand Tencent’s reach in the gaming supply chain. The company is the publisher behind blockbusters like the mobile versions of PUBG and Call of Duty, and the addition of a live-streaming empire will allow it to capture not just gamers but also the wider esports spectatorship.

It’s worth noting that Tencent has its own in-house Penguin Esports that’s a counterpart to Douyu and Huya. It’s not hard to imagine the three players integrating resources and generating synergies under Tencent’s oversight.

New challengers have sprung up in the field. While Douyu and Huya focused on esports from the outset, more general-purpose video services like Bilibili and Kuaishou have been luring legions of esports users in recent years. But lo and behold, Tencent is also an investor in Bilibili and Kuaishou.

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What does accountability look like in 2020?

Rae Witte
Contributor

Rae Witte is a New York-based freelance journalist covering music, style, sneakers, art and dating, and how they intersect with tech. You can find her writing on i-D, The Wall Street Journal, Esquire and Forbes, among others.

“What happens after a company gets called out?” he asked over the phone. “Do you know what happens to the people in-house that come forward?”

I didn’t.

A Black male engineer at a fashion tech company who wished to remain anonymous was telling me how he’d been passed over for promotions white counterparts later received after they’d pursued risky and unsuccessful projects. At one point, he said management tasked him with doing recon on a superior who made disparaging comments about women because his subordinates were uncomfortable reporting it directly to HR.

When human resources eventually took up the matter, the engineer said his participation was used against him.

More recently, his company brought furloughed employees back and managers promoted a younger, white subordinate over him. When he asked about the move, his direct supervisor said he was too aggressive and needed to be more of a role model to be considered in the future.

In the absence of industry leadership, there’s no blueprint to remedy institutional problems like these. The lack of substantial progress toward true representation, diversity and inclusion across several industries illustrates what hasn’t worked.

Audrey Gelman, former CEO of women-focused co-working/community space The Wing, stepped down in June following a virtual employee walkout. Three months earlier, a New York Times exposé interviewed 26 former and current employees there who described systemic discrimination and mistreatment. At the time, about 40% of its executive staff consisted of women of color, the article reported.

Within days, Refinery29’s EIC Christene Barberich also resigned after allegations of racism, bullying and leadership abuses surfaced with hashtag #BlackatR29.

In December 2019, The Verge reported allegations of a toxic work environment at Away under CEO Steph Korey. After a series of updates and corrections in reporting, it seemed she would be stepping away from her role or accelerating an existing plan for a new CEO to take over. But the following month, she returned to the company as co-CEO, sharing the statement: “Frankly, we let some inaccurate reporting influence the timeline of a transition plan that we had.”

Last month, after Korey posted a series of Instagram stories that negatively characterized her media coverage, the company again announced she would step down.

Bon Appétit former editor-in-chief Adam Rapaport resigned his position the same month after news broke that the cooking brand didn’t prioritize representation in its content or hiring, failed to pay women of color equally and freelance writer Tammie Teclemariam shared a 2013 photo of Rappaport in brown face.

In a public apology, staffs of Bon Appétit and Epicurious acknowledged that they had “been complicit with a culture we don’t agree with and are committed to change.”

Removing one problematic employee doesn’t upend company culture or help someone who’s been denied an opportunity. But with so much at stake when it comes to employing Instagram-ready branding, the lane is wide open for companies to meet the moment when it comes to doing the right thing.

A 2017 report by the Ascend Foundation found few Asian, Black and Latinx people were represented in leadership pipelines, and at that point, the numbers were actually getting worse. Seemingly, in an effort for transparency and accountability to do better, 17 tech companies shared diversity statistics and their plans to improve with Business Insider in June 2020. The numbers were staggering, especially for an initiative supposedly prioritized industry-wide in 2014:

Underrepresented minorities like Black and Latinx people still only make up single-digit percentages of the workforce at many major tech companies. When you look at the leadership statistics, the numbers are even bleaker.

While tech’s shortcomings show up clearly in a longstanding lack of diversity, companies in other industries polished their brands sufficiently to skate by — until COVID-19 and the call for racial justice after George Floyd’s murder called for lasting change.

In June, Adidas employees protested outside the company’s U.S. headquarters in Portland, Oregon and shared stories about internal racism. Just a year ago, The New York Times interviewed current and former employees about “the company’s predominantly white leadership struggling with issues of race and discrimination.”

In 2000, an Adidas employee filed a federal discrimination suit alleging that his supervisor called him a “monkey” and described his output as “monkey work.” When spokesperson Kanye West said in 2018 that he believed slavery was a choice, CEO Kasper Rorsted discussed his positive financial impact on the brand and avoided commenting on West’s statement.

In response to the internal turmoil at Adidas, the brand originally pledged to invest $20 million into Black communities in the U.S. over the next four years, increasing it to $120 million and releasing an outline of what they plan to do internally, Footwear News reported.

On June 30, Karen Parkin stepped down from her role as Adidas’ global head of HR in mutual agreement with the brand. In an all-employee meeting in August 2019, she reportedly described concerns about racism as “noise” that only Americans deal with. She’d been with the brand for 23 years.

Routinely protecting employees perceived as racist, misogynistic or abusive is bad for business. According to a 2017 “tech leavers” study conducted by the Kapor Center, employee turnover and its associated costs set the tech industry back $16 billion.

POC experience-centered social and wellness club Ethel’s Club invested into its community’s well-being and has not only managed to stay open (virtually) through the COVID-19 pandemic, it has managed to grow. Meanwhile, The Wing lost 95% of its business.

So, what really happens after the companies are called out? Often, the bare minimum. While the perpetrators of the injustice may endure backlash, abusers in corporate structures are often shifted into other roles.

Tiffany Wines, a former social media and editorial staffer at media/entertainment company Complex, posted an open letter to Twitter on June 19 alleging that Black women at the outlet were mistreated, sharing a story in which she claimed to have ingested marijuana brownies left in an office that was billed as a drug-free environment. Wines said she blacked out and accused superiors of covering up the incident after she reported it.

Her decision to speak up prompted other former employees to share stories alleging misogyny, racism, sexual assault and protection of abusers. One anonymous editor said she was asked if she would be comfortable with a workplace that had a “locker room culture” during a 2010 interview. (She did not end up working there.)

Complex Media Group put out a statement four days later on its corporate Twitter account, which had approximately 100 followers — as opposed to its main account, which has 2.3 million followers.

“We believe Complex Networks is a great place to work, but it is by no means perfect,” read the statement. “It’s our passion for our brands, communities, colleagues, and the belief that a safe and inclusive workplace should be the expectation for everyone.” It went on to state that they’ve taken immediate action, but it’s unclear if anyone has been terminated. [Complex is co-owned by Verizon Media, TechCrunch’s parent company.]

Members of the fashion community have formed multiple groups to combat systemic racism, establish accountability and advance Black people in the industry.

Set to launch in July 2020, The Black In Fashion Council, founded by Teen Vogue editor-in-chief Lindsay Peoples Wagner and fashion publicist Sandrine Charles, works to advance Black individuals in fashion and beauty.

The Kelly Initiative is comprised of 250 Black fashion professionals hoping to blaze equitable inroads, and they’ve publicly addressed the Council of Fashion Designers of America in a letter accusing them of “exploitative cultures of prejudice, tokenism and employment discrimination to thrive.”

Co-founders of True To Size, Jazerai Allen-Lord and Mazin Melegy, an extension of the New York-based branding agency Crush & Lovely, started offering their Check The Fit solutions to the brands they were working with in 2019. The initiative is an audit process created to align in-house teams and ensure sufficient representation is in place for brands’ storytelling.

Check The Fit determines who the consumer is, what the internal team’s history is with that demographic and the message they’re trying to communicate to them, and how the team engage’s with that subject matter in everyday life and in the office. Melegy says, “that look inward is a step that is overlooked almost everywhere.”

“At most companies, we’ve seen a lack of coherence within the organization, because each department’s director is approaching the problem from a siloed perspective. We were able to bring 15 leaders across departments together, distill through a list of concerns, find points of leverage and agree on a common goal. It was noted that it was the first time they were able to feel unified in their mission and felt prepared to move forward,” Lord says of their work with Reebok last year.

Brooklyn-based retailer Aurora James established the 15 Percent Pledge campaign, which urges retailers to have merchandise that reflects today’s demographics: 15% of the population should represent 15% of the shelves.

During the melee that transpired largely on Twitter and Instagram only to attempt to be reconciled in boardrooms, one Condé Nast employee and ally has been suspended. On June 12, Bon Appétit video editor Matt Hunziker tweeted, “Why would we hire someone who’s not racist when we could simply [checks industry handbook] uhh hire a racist and provide them with anti-racism training…” As his colleagues shared an outpouring of support online, a Condé Nast representative said in a statement, “There have been many concerns raised about Matt that the company is obligated to investigate and he has been suspended until we reach a resolution.”

Simply reading through accusers’ first-person accounts, it often seems like these stories end up on public forums because little to nothing is done in favor of the people who step forward. The protection has consistently been of the company.

The Black engineer I spoke to escalated his concerns to his company’s CEO and said the executive was unaware of the allegations and seemed deeply concerned.

Seeing someone who seemed genuinely invested in doing the right thing “obviously, means a lot,” he said.

“But at the same time, I’m still really concerned knowing the broader environment of the company, and it’s never just one person.”

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‘Animal Crossing: New Horizons’ and the limits of today’s game economies

Kaiser Hwang
Contributor

Kaiser Hwang is a longtime member of the games community and a vice president at Forte, an organization building an open economic platform for games.

“Animal Crossing: New Horizons” is a bonafide wonder. The game has been setting new records for Nintendo, is adored by players and critics alike and provides millions of players a peaceful escape during these unprecedented times.

But there’s been something even more extraordinary happening on the fringe: Players are finding ways to augment the game experience through community-organized activities and tools. These include free weed-pulling services (tips welcome!) from virtual Samaritans, and custom-designed items for sale — for real-world money, via WeChat Pay and AliPay.

Well-known personalities and companies are also contributing, with “Rogue One: A Star Wars Story” scribe Gary Whitta hosting an A-list celebrity talk show using the game, and luxury fashion brand Marc Jacobs providing some of its popular clothing designs to players. 100 Thieves, the white-hot esports and apparel company, even created and gave away digital versions of its entire collection of impossible-to-find clothes.

This community-based phenomenon gives us a pithy glimpse into not only where games are inevitably going, but what their true potential is as a form of creative, technical and economic expression. It also exemplifies what we at Forte call “community economics,” a system that lies at the heart of our aim in bringing new creative and economic opportunities to billions of people around the world.

What is community economics?

Formally, community economics is the synthesis of economic activity that takes place inside, and emerges outside, virtual game worlds. It is rooted in a cooperative economic relationship between all participants in a game’s network, and characterized by an economic pluralism that is unified by open technology owned by no single party. And notably, it results in increased autonomy for players, better business models for game creators, and new economic and creative opportunities for both.

The fundamental shift that underlies community economics is the evolution of games from centralized entertainment experiences to open economic platforms. We believe this is where things are heading.

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This Week in Apps: US ponders TikTok ban, apps see a record Q2, iOS 14 public beta arrives

Welcome back to This Week in Apps, the Extra Crunch series that recaps the latest OS news, the applications they support and the money that flows through it all.

The app industry is as hot as ever, with a record 204 billion downloads and $120 billion in consumer spending in 2019. People are now spending three hours and 40 minutes per day using apps, rivaling TV. Apps aren’t just a way to pass idle hours — they’re a big business. In 2019, mobile-first companies had a combined $544 billion valuation, 6.5x higher than those without a mobile focus.

In this Extra Crunch series, we help you keep up with the latest news from the world of apps, delivered on a weekly basis.

This week, we’re digging into the news of a possible TikTok ban in the U.S. and how that’s already impacting rival apps. Also, both Android and iOS saw beta launches this week — a near-ready Android 11 beta 2 and the  public beta of iOS 14. We also look at the coronavirus’ impact on the app economy in Q2, which saw record downloads, usage and consumer spending. In other app news, Instagram launched Reels in India, Tinder debuted video chat and Quibi flounders while Pokémon GO continues to reel it in.

Headlines

Apple release iOS 14 public beta

Image Credits: Apple

The much-anticipated new version of the iOS mobile operating system, iOS 14, became available for public testing on Thursday. Users who join the public beta will be able to try out the latest features, like the App Library, Widgets and smart stacks, an updated Messages app, a brand-new Translate app, biking directions in Apple Maps, upgraded Siri and various improvements to core apps like Notes, Reminders, Weather, Home, Safari and others.

When iOS 14 launches to the general public, it may also include support for QR code payments in Apple Pay, according to a report of new assets discovered in the code base.

Alongside the public beta, developers received their second round of betas for iOS 14, iPadOS 14 and other Apple software.

Google’s efforts in speeding up Android updates has been good news for Android 10

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Athlane looks to connect brands and esports streamers with a fresh $3.3 million in funding

Athlane, the YC-backed company from the Summer ’19 cohort, is today ready to launch with a fresh $3.3 million in capital. Investors include Y Combinator, Jonathan Kraft (New England Patriots), Michael Gordon (President of Fenway Sports Group, which owns the Red Sox and Liverpool Football Club), Global Founders Capital, Romulus Capital, Seabed VC and more.

The startup originally positioned itself as the “NCAA of esports” but, after some time in stealth, has taken a new approach. Athlane is looking to be the connective fiber between streamers and brands, facilitating sponsorship and endorsement deals with more transparent data and analytics and a streamlined communications flow.

Athlane has products for both brands and streamers.

Brands can use the Athlane Terminal to manage their sponsorships. The Insights Hub uses proprietary data to help brands understand which streamers are followed by their target demographic, and whether or not the products will resonate with that fan base. Insights also allow brands to see when a streamer’s viewership is growing.

From there, brands can send out sponsorship deals to streamers directly through the Athlane Terminal, and then track the ROI on that sponsorship deal throughout the campaign.

On the streamer side, the company has built out a platform called Athlane Pro, which lets streamers manage each task from their sponsors individually. Streamers can also use Athlane Pro to counter-offer inbound sponsorship deals or negotiate terms.

Streamers can also use Athlane’s machine learning algorithm to get clearer insights on their stream performance, such as whether their YouTube viewership overlaps with their Twitch viewership, or see which videos do better based on title or thumbnail. But more importantly, the Athlane Content Hub gives streamers the opportunity to understand if their fan base specifically aligns with this or that brand, and gives them the tools to reach out directly to that brand to solicit a sponsorship.

Athlane has also built out a Shop tool that lets streamers build out a no-code storefront for their fans, which they can link to on their Twitch, Twitter, Instagram, etc. This storefront can be a repository for all the products that streamer is endorsing, allowing fans to see products from multiple brands in a single place.

“We have a number of proprietary partnerships with data providers including companies like Twitter,” said co-founder Faisal Younus. “For example, we have a partnership with the leading manufacturer of apparel in esports, which ties back into our system so we can look at how merchandise is moving.”

That data, when paired with the data provided when a streamer signs in and integrates with the platform, becomes very precise, according to the company.

The startup charges brands using a tiered SaaS model, and streamers can do their first sponsorship for free on the platform. After the first sponsorship, streamers are charged a fee between $10 and $20 per deal. Athlane has also started working with agencies that represent brands and charges a discovery fee for talent those agencies find on the platform.

“COVID-19 has brought on very rapid growth on the viewership side, and because of that we’ve seen an intense interest from a number of brands while conventional entertainment is shut down,” said Younus. “A lot of media spend is going to go unspent, but there is also a higher risk appetite for spending a little bit in esports, and our challenge is making sure this industry growth is sustained.”

He added that helping brands understand the true ROI of that spend will be key.

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‘Westworld’ creators are developing a ‘Fallout’ TV series for Amazon

“Fallout,” the post-apocalyptic video game franchise published by Bethesda Softworks, is being turned into a TV series by Kilter Films, the production company of Jonathan Nolan and Lisa Joy.

The series, which began in 1997, takes place in an alternate future with a retro tone, after a nuclear war has turned most of the world into a wasteland. The games have continued in the two decades since, most recently with the release of “Fallout 76.”

The show — currently in development, with a series commitment from Amazon Studios — is part of Nolan and Joy’s overall deal with streaming service, which they signed last year for a reported $150 million.

The husband-and-wife team is best known for creating HBO’s new version of “Westworld” (based on a Michael Crichton film from the 1970s). They’re also working on an adaptation of William Gibson’s novel “The Peripheral.”

“Fallout is one of the greatest game series of all time,” Nolan and Joy said in a statement. “Each chapter of this insanely imaginative story has cost us countless hours we could have spent with family and friends. So we’re incredibly excited to partner with Todd Howard and the rest of the brilliant lunatics at Bethesda to bring this massive, subversive, and darkly funny universe to life with Amazon Studios.”

 

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What went wrong with Quibi?

Two months after Quibi’s high-profile launch as a short-form mobile-native TV app led by Jeffrey Katzenberg and Meg Whitman, it is evident the startup is greatly underperforming relative to the hundreds of millions of dollars already spent on content and marketing. 

According to a Wall Street Journal report, “daily downloads peaked at 379,000 on its April 6 launch day but didn’t exceed 20,000 on any day in the first week of June, according to Sensor Tower.” The article says Quibi is on pace for just 2 million subscribers by year-end, from its predicted 7.2 million. Most of the current subscriber base is on free trials, so even just maintaining the current pace of subscriber growth for several more months will be challenging. Quibi hasn’t released any of its own stats on subscribers, which it almost certainly would do to combat the negative perception among investors and press, if the stats showed a lot of traction.

I argued in 2018 that Facebook should turn its IGTV into a Quibi competitor, and I continue to believe there’s untapped opportunity for premium, mobile-native storytelling apps. So what went wrong with Quibi? There appear to have been four key mistakes:

  1. Miscalculating the risk of launching during the COVID-19 lockdown.
  2. Failing to see the central role of interactivity in mobile-native entertainment.
  3. Creating misaligned financial incentives with the wrong content partners.
  4. Launching Quibi like a movie instead of like a startup.

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