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Amagi tunes into $100M for cloud-based video content creation, monetization
Media technology company Amagi announced Friday $100 million to further develop its cloud-based SaaS technology for broadcast and connected televisions.
Accel, Avataar Ventures and Norwest Venture Partners joined existing investor Premji Invest in the funding round, which included buying out stakes held by Emerald Media and Mayfield Fund. Nadathur Holdings continues as an existing investor. The latest round gives Amagi total funding raised to date of $150 million, Baskar Subramanian, co-founder and CEO of Amagi, told TechCrunch.
Bangalore-based Amagi provides cloud broadcast and targeted advertising software so that customers can create content that can be created and monetized to be distributed via broadcast TV and streaming TV platforms like The Roku Channel, Samsung TV Plus and Pluto TV. The company already supports more than 2,000 channels on its platform across over 40 countries.
“Video is a complex technology to manage — there are large files and a lot of computing,” Subramanian said. “What Amagi does is enable a content owner with zero technology knowledge to simplify that complex workflow and scalable infrastructure. We want to make it easy to plug in and start targeting and monetizing advertising.”
As a result, Amagi customers see operational cost savings on average of up to 40% compared to traditional delivery models and their ad impressions grow between five and 10 times.
The new funding comes at a time when the company is experiencing rapid growth. For example, Amagi grew 30 times in the United States alone over the past few years, Subramanian said. Amagi commands an audience of over 2 billion people, and the U.S. is its largest market. The company also sees growth potential in both Latin America and Europe.
In addition, in the last year, revenue grew 136%, while new customer year over year growth was 44%, including NBCUniversal — Subramanian said the Tokyo Olympics were run on Amagi’s platform for NBC, USA Today and ABS-CBN.
As more of a shift happens with video content being developed for connected television experiences, which he said is a $50 billion market, the company plans to use the new funding for sales expansion, R&D to invest in the company’s product pipeline and potential M&A opportunities. The company has not made any acquisitions yet, Subramanian added.
In addition to the broadcast operations in New Delhi, Amagi also has an innovation center in Bangalore and offices in New York, Los Angeles and London.
“Consumer behavior and infrastructure needs have reached a critical mass and new companies are bringing in the next generation of media, and we are a large part of that growth,” Subramanian said. “Sports will come on quicker, while live news and events are going to be one of the biggest growth areas.”
Shekhar Kirani, partner at Accel, said Amagi is taking a unique approach to enterprise SaaS due to that $50 billion industry shift happening in video content, where he sees half of the spend moving to connected television platforms quickly.
Some of the legacy players like Viacom and NBCUniversal created their own streaming platforms, where Netflix and Amazon have also been leading, but not many SaaS companies are enabling the transition, he said.
When Kirani met Subramanian five years ago, Amagi was already well funded, but Kirani was excited about the platform and wanted to help the company scale. He believes the company has a long tailwind because it is saving people time and enabling new content providers to move faster to get their content distributed.
“Amagi is creating a new category and will grow fast,” Kirani added. “They are already growing and doubling each year with phenomenal SaaS metrics because they are helping content providers to connect to any audience.
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Virtual meeting platform Vowel raises $13.5M, aims to cure meeting fatigue
Meetings are an inevitable part of the work day, but as workplaces became more distributed over the past 18 months, Vowel CEO Andy Berman says we are steadily moving toward “death by meeting.”
His virtual meeting platform is the latest to receive venture capital funding — $13.5 million — with the goal of making meetings more useful before, during and after.
Vowel is launching a meeting operating system with tools like real-time transcription; integrated agendas, notes and action items; meeting analytics; and searchable, on-demand recordings of meetings. The company has a freemium business model and will also be rolling out a business plan this fall for $16 per user per month. Extra features will include advanced integrations, security and admin controls.
The Series A was led by David Hornik of Lobby Capital, who was joined by existing investors Amity Ventures and Box Group and a group of individual investors, including Calendly CEO Tope Awotona, Intercom co-founder Des Traynor, Slack VP Ethan Eismann, former Yammer executive Viviana Faga, former InVision president David Fraga and Okta co-founder Frederic Kerrest.
Prior to starting Vowel, Berman was one of the founders of baby monitor company Nanit. The company had teams spread out around the world, and communication was tough as a result. In 2018, the company went looking for a tool that would work for synchronous and asynchronous meetings, but there were still a lot of time zones to manage, he said.
Taking a cue from Nanit’s own baby monitors that were streaming video over 17 hours a day, the idea for Vowel was born, and the company began to focus on the hypothesis that distributed work would be prevalent.
“People initially thought we were crazy, but then the pandemic hit, and everyone was learning how to work remotely,” Berman told TechCrunch. “As we now go back to hybrid work, we see this as an opportunity.”
In 2017, Harvard Business Review reported that executives spent 23 hours in meetings each week. Berman now estimates that the average worker spends half of their time each week in meetings.
Vowel is out to bring Slack, Figma and GitHub components to meetings by recording audio and video that can be paused at any time. Users can add notes and see where those notes fall within a real-time transcription that enables people who arrive late or could not make the meeting to catch up easily. After meetings are over, they can be shared, and Vowel has a search function so that users can go back and see where a particular person or topic was discussed.
The new funding will enable the company to grow its team in product, design and engineering. Vowel plans to hire up to 30 new people over the next year. The company recently closed its beta test and has amassed a 10,000-person waitlist. The public launch will happen in the fall, Berman said.
Workplace productivity and office communication tools are not new concepts, but as Berman explained, became increasingly important when homes became offices over the past 18 months.
Competitors took different approaches to solving these problems: focusing on video conferencing or audio or meeting management with plugins. Berman says an area where many have not succeeded yet is integrating meetings into the typical workflow. That’s where Vowel comes in with its “meeting OS,” he added.
“Our goal is to make meetings more inclusive and worthwhile, which includes the prep, the meeting and the follow-up,” Berman said. “We see the future will be about knowledge management, so the difference between what we are doing is ensuring you can catch up quickly and keep that knowledge base. A Garner report said that 75% of workplace meetings will be recorded by 2025, and that is a trend we are reinventing from the ground up.”
David Hornik, founding partner at Lobby Capital, said he became acquainted with Vowel from its existing investor Amity Ventures. Hornik, who sits on the GitLab board, said GitLab was one of the largest distributed companies in the tech space, prior to the pandemic, and saw first-hand the challenge of making distributed teams functionable.
When Hornik heard about Vowel, he said he “jumped quickly” on the opportunity. His firm typically invests in platform businesses that have the capacity to transform business spaces. Many are pure software, like Splunk or GitLab, while others are akin to Bill.com, which transformed how small businesses manage financial operations, he added.
All of those combine into a company, like Vowel, especially given the company’s vision for a meeting OS to transform a meeting space that hadn’t moved forward in decades, he said.
“This was quickly obvious to me because my day is meetings — an eight-Zoom day is a normal day — I just wish I could remember everything,” Hornik said. “Speaking with early customers using the product, when I asked them what they would do if this ever went away, the first thing they said was ‘cry,’ and, because there was no alternative, would return to Zoom or other tools, but it would be a big setback.”
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Apple launches a US-only music video station, Apple Music TV
Apple is expanding its investment in music with today’s launch of “Apple Music TV.” The new music video station offers a free, 24-hour live stream of popular music videos and other music content, including exclusive video premieres, curated music video blocks, live shows, fan events, chart countdowns and guest appearances.
The service doesn’t have its own dedicated app, but is instead offered as a new feature within two of Apple’s existing entertainment apps. At launch, you can watch Apple Music TV from within the Browse tab of either the Apple Music app or the Apple TV app. (Accessible via apple.co/AppleMusicTV).
While Apple Music is a paid subscription service, Apple Music TV will be free to users in the U.S., the company says.
To kick off its launch, Apple Music TV today began with a countdown of the top 100 most-streamed songs ever across all of Apple Music, based on U.S. data.
During brief tests of the new service, we found it to be a fairly basic — though uncensored and ad-free — experience. The video stream only offered artist and song details at the beginning, instead of as the music played. It also didn’t take advantage of the integration with Apple Music to offer additional features to paying subscribers — like being able to favorite the song or add it to a playlist, for instance.
The stream would stop when the Apple Music app was closed, as it didn’t support background play.
Image Credits: Apple
There also weren’t any on-screen tools to share what you were watching via a social media post. You had to dig to find the “share” button under the three-dot, “more” menu. This would give you a link to tweet, but wouldn’t pre-fill it with text or hashtags, like the artist name or song.
While listening, you could stop the live stream and then return after a short pause. But after a bit, the stream disconnects and the thumbnail of the paused music video reverts to the placeholder Apple Music TV image. When live, the text and icons will be shown in red. They revert to white when you’ve disconnected, as a visual cue.
Despite its simplicity, Apple Music TV gives Apple an immediate new home for its music-related original content, which over the years has included exclusive interviews, concert films and more. It also provides Apple with another advantage when it goes to negotiate with artists for their premieres, as it introduces an additional platform for reaching an artist’s fans — not only with the premiere itself, but by offering artists blocks of airtime leading up to their next debut that they can use to promote their releases.
The new station can also leverage content produced for the Apple Music 1 (formerly Beats 1) radio station, as it goes about running these promotions.
For example, on Thursday, October 22, Apple Music TV will promote the upcoming release of Bruce Springsteen’s “Letter to You” with music video blocks featuring his greatest videos, plus an exclusive interview with Zane Lowe, and a special live stream fan event.
Apple says that Apple Music 1 won’t be producing exclusive content for the live-streamed station, but instead will run the video content it already produces across its radio stations — Apple Music 1, Apple Music Country, and Apple Music Hits — as interstitial content on Apple Music TV.
Fridays, meanwhile, will focus on new music. This Friday, October 23, at 9 AM PT, Apple Music TV will showcase two new exclusive video premieres — Joji’s “777” and SAINt JHN’s “Gorgeous.”
Apple Music TV’s biggest advantage, of course, is the fact that it’s freely accessible to millions of Apple device owners.
But it may struggle for traction as it lacks the features that make other live stream fan events or premieres engaging — like group chats or direct interactions with creators.
Instead, it’s more like a traditional TV broadcast — even MTV-like — compared with other online destinations where artists today connect with fans and promote their albums, like YouTube, VEVO or, more recently, Facebook, which just this year launched music videos.
Apple didn’t say if it planned to expand the new station outside the U.S.
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Quibi’s streaming service app launches in app stores for pre-order
Quibi, the mobile-only streaming service from Jeffrey Katzenberg, is now open for pre-orders. The company declined to fully show off its app only a month ago during demos of its “TurnStyle” technology at the Consumer Electronics Show in Las Vegas, but it appears the app is ready nonetheless. Quibi is listed on both Apple’s App Store and Google Play, where it’s been given a pre-order date of April 6, 2020 — the date Quibi’s new service goes live.
The app was actually published to the app stores in January, according to data from Sensor Tower and App Annie. Quibi confirmed the app actually opened up for pre-orders on January 30, but this hadn’t been reported yet by media. (Chrissy Teigen tweeted it, however.)
Apple first introduced pre-order functionality for apps and games in late 2017, allowing interested consumers to have a new app or game automatically download to their device on launch day. And in the case of paid apps, customers aren’t charged until the app becomes available.
Since launch, the pre-order system has largely been used with mobile games. Apple even devotes part of its iOS App Store to a “Coming Soon” section where you can find upcoming games for pre-order.
It’s far less common for non-games to utilize a pre-order system. By doing so, it’s a signal that the company plans to do a significant marketing push ahead of the app’s release, likely in hopes of achieving a higher number of day-one downloads than it would otherwise.
That’s important in Quibi’s case, given the competition that awaits it. Disney+, for example, blew past expectations to reach nearly 29 million subscribers in less than 3 months after its U.S. debut. Quibi, meanwhile, will arrive in the spring, just ahead of when WarnerMedia’s HBO Max and NBCU’s Peacock also begin rolling out. Quibi can’t wait until the market is even more crowded to start pushing users to download its app — it needs to capture users’ attention now.
With Quibi’s app store listings now live, we also have our first glimpse of the streaming service’s user interface.
Much has been made about Quibi’s potential to reimagine TV by taking advantage of mobile technology in new ways, but the app itself looks much like any other streaming service, save for its last screen showing off its TurnStyle technology.
The app appears to favor a dark theme common to streaming apps, like Netflix and Prime Video, with just four main navigation buttons at the bottom.
The first is a personalized For You page, where you’re presented a feed where you’ll discover new things Quibi thinks you’ll like.
A Search tab will point you toward trending shows and it will allow you to search by show titles, genre or even mood.
The Following tab helps you keep track of your favorite shows and a Downloads tab keeps track of those you’ve made available for offline viewing.
Otherwise, Quibi’s interface is fairly simple. Shows are displayed with big images that you flip through either vertically on your home feed or both horizontally and vertically as you move through the Browse section.
The company does promote its TurnStyle viewing technology in its app store description, though it doesn’t reference the technology by name. Instead, it describes it as a viewing experience that puts you in full control. “No matter how you hold your phone, everything is framed to fit your screen,” it says.
In vertical viewing mode, it also introduces controls that appear on either the left or right side the screen — you choose, based on whether you’re left or right-handed.
Quibi did not formally announce the app was open for pre-order.
The startup, founded by Jeffrey Katzenberg, is backed by more than a billion dollars — including a recently closed $400 million round.
Katzenberg explained at CES that every great innovation in Hollywood has been driven by new technology, but today’s streaming services haven’t fully capitalized on the way many people consume content — meaning, on their phone. Quibi plans to make its service mobile-first, with TurnStyle for better viewing. And later, by using the phone’s other sensors and features to create different types of stories, like a horror show you can only watch at night or interactive fitness programs that can track your steps, among other things.
But Quibi could easily come across as gimmicky if it doesn’t get the experience right with quality content, too. Even if Quibi doesn’t pan out as a standalone streamer, it could license its TurnStyle tech to others in the streaming space — that would make Quibi one of the most expensive demo apps of all time.
Updated 2/20/20, 6 PM ET to clarify the app was opened to pre-orders on Jan 30, according to Quibi, but it wasn’t publicly announced. Sensor Tower had earlier said the app was only made available for pre-order today. The app was updated today, however.
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Tinder’s interactive video series ‘Swipe Night’ is going international next year
Tinder’s big experiment with interactive content — the recently launched in-app series called “Swipe Night” — was a success. According to Tinder parent company Match during its Q3 earnings this week, “millions” of Tinder users tuned in to watch the show’s episodes during its run in October, and this drove double-digit increases in both matches and messages. As a result, Match confirmed its plans to launch Tinder’s new show outside the U.S. in early 2020.
Swipe Night’s launch was something of a departure for the dating app, whose primary focus has been on connecting users for dating and other more casual affairs.
The new series presented users with something else to do in the Tinder app beyond just swiping on potential matches. Instead, you swiped on a story.
Presented in a “choose-your-own-adventure”- style format that’s been popularized by Netflix, YouTube and others, Swipe Night asked users to make decisions to advance a narrative that followed a group of friends in an “apocalyptic adventure.”
The moral and practical choices you made during Swipe Night would then be shown on your profile as a conversation starter, or as just another signal as to whether or not a match was right for you. After all, they say that the best relationships come from those who share common values, not necessarily common interests. And Swipe Night helped to uncover aspects to someone’s personality that a profile would not — like whether you’d cover for a friend who cheated, or tell your other friend who was the one being cheated on?
The five-minute episodes ran every Sunday night in October from 6 PM to midnight.
Though early reports on Tinder’s plans had somewhat dramatically described Swipe Night as Tinder’s launch into streaming video, it’s more accurate to call Swipe Night an engagement booster for an app from which many people often find themselves needing a break. Specifically, it could help Tinder address issues around declines in open rates or sessions per user — metrics that often hide behind what otherwise looks like steady growth. (Tinder, for example, added another 437,000 subscribers in the quarter, leading to 5.7 million average subscribers in Q3).
Ahead of earnings, there were already signs that Swipe Night was succeeding in its efforts to boost engagement.
Tinder said in late October that matches on its app jumped 26% compared to a typical Sunday night, and messages increased 12%.
On Tinder’s earnings call with investors, Match presented some updated metrics. The company said Swipe Night led to a 20% to 25% increase in “likes” and a 30% increase in matches. And the elevated conversation levels that resulted from user participation continued for days after each episode aired. Also importantly, the series helped boost female engagement in the app.
“This really extended our appeal and resonated with Gen Z users,” said Match CEO Mandy Ginsberg. “This effort demonstrates the kind of creativity and team we have at Tinder and the kind of effort that we’re willing to make.”
The company says it will make Season 1 of Swipe Night (a hint there’s more to come) available soon as an on-demand experience, and will roll out the product to international markets early next year.
Swipe Night isn’t the only video product Match Group has in the works. In other Match-owned dating apps, Plenty of Fish and Twoo, the company is starting to test live streaming broadcasts. But these are created by the app’s users, not as a polished, professional product from the company itself.
Match had reported better-than-expected earnings for the third quarter, with earnings of 51 cents per share — above analysts’ expectations for earnings of 42 cents per share. Match’s revenue was $541 million, in line with Wall Street’s expectations.
But its fourth-quarter guidance came in lower than expectations ($545 million-$555 million, below the projected $559.3 million), sending the stock dropping. Match said it would have to take on about $10 million in expenses related to it being spun out from parent company IAC.
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Indonesia’s ride-hailing giant Gojek launches video streaming service GoPlay
On-demand video streaming giant Netflix, which is increasingly expanding its footprint in developing markets, now has a new competitor in Indonesia: Gojek.
The Indonesian ride-hailing giant on Thursday launched a video streaming service called GoPlay that features exclusive access to “hundreds of movies and TV shows” as well as snackable short clips. The streaming service is currently available only in Indonesia.
The service, which Gojek began testing with select users in June, focuses on local content, Edy Sulistyo, CEO of GoPlay said. Gojek, which was valued at $9.5 billion in its last financing round, said it has partnered with major local production houses such as Base Entertainment, Kalyana Shira Films and Wahana Kreator for production of original titles. The firm said it has also tied up with some international studios to source foreign content.
“Despite a rise in demand for local content and a growing number of mobile audiences in Indonesia, access has still been limited especially for consumers living outside of urban areas. With GoPlay, we aim to enable all Indonesian consumers to enjoy high-quality on-demand entertainment at their convenience, while providing a platform for local content producers to showcase their creative work,” said Sulistyo in a statement.
Gojek is offering the video streaming service through two aggressively priced monthly plans: IDR 89,000 ($6.27), which offers access to the full catalog in HD; and IDR 99,000 ($7), which will additionally provide users with access to GoFood delivery vouchers.
GoPlay will compete with a range of streaming services such as Netflix, iFlix and Hooq. Netflix last year began testing a low-cost mobile-only plan in some developing markets, including Indonesia, to boost its presence in those nations. The global giant eventually launched the affordable tier in India earlier this year. A Netflix spokesperson told TechCrunch this week that it currently has no plans to expand the low-cost tier to other markets.
Like many other major firms in Southeast Asia, Gojek is increasingly bulking up its ridesharing platform to enter additional categories. Today, it offers an online payments service and a gaming platform. The firm began working on its video streaming service last year after it set up an in-house content studio.
Grab, Gojek’s archrival in Southeast Asian markets, and India’s Ola, have also expanded their offerings in recent years. While Grab, like Gojek, offers everything including a video streaming service, Ola launched a credit card in May.
Grab has a partnership with Hooq for its video streaming service. In the run up to GoPlay’s launch, Hooq CEO Peter Bithos told TechCrunch in an interview that Gojek lacks the reach Hooq maintains in Southeast Asian markets. “Gojek hasn’t been able to get to anything like the scale or reach that we’ve got,” he said.
About 125 million people in Indonesia, or half of the nation’s population, are currently online. Sulistyo said Gojek sees a lot of potential for GoPlay’s growth in the country.
Indonesia has emerged as one of the fastest-growing economies in Asia in recent years. According to a study conducted by Google and Singapore’s Temasek, Indonesia’s internet economy is estimated to be worth $100 billion by 2025.
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How Zhihu has become one of China’s biggest hubs for experts
Zhihu may not be as well known outside of China as WeChat or ByteDance’s Douyin, but over the past eight years, it has cultivated a reputation for being one of the country’s most trustworthy social media platforms. Originally launched as a question-and-answer site similar to Quora, Zhihu has grown to be a central hub for professional knowledge, allowing users to interact with experts and companies in a wide range of industries.
Headquartered in Beijing, Zhihu recently raised a $434 million Series F, its biggest round since 2011. The funding also brought Zhihu two important new partners: video and live-streaming app Beijing Kuaishou, which led the round, and Baidu, owner of China’s largest search engine (other participants in the round included Tencent and CapitalToday).
Launched in 2011, Zhihu (the name means “do you know”) is most frequently compared to Quora and Yahoo Answers. While it resembled those Q&A platforms at first, it has grown in scope. Now it would be more accurate to say that the platform is like a combination of Quora, LinkedIn and Medium’s subscription program.
For example, Zhihu has an invitation-only blogging platform for verified experts and since launching official accounts, it has become a channel for companies and organizations to communicate with users. A representative for Zhihu told TechCrunch that the platform had 220 million users and 30,000 official accounts as of January 2019 (for context, there are currently about 800 million Internet users in China), who have posted a total of 130 million answers so far.
The company’s growth will be closely watched since Zhihu is reportedly preparing for an initial public offering. Last November, the company hired its first chief financial officer, Sun Wei, heightening speculation. A representative for the company told TechCrunch the position was created because of Zhihu’s business development needs and that there is currently no timeline for a public listing.
At the same time, the company has also dealt with reports that its growth has slowed.
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Twitch continues to dominate live streaming with its second-biggest quarter to date
Twitch continues to lead rivals including, YouTube Live, Facebook Gaming and Microsoft’s Mixer, when it comes to live-streaming video. Despite experiencing its first decline in hours watched in Q2 2019, the Amazon-owned game-streaming site still had its second-biggest quarter to date, with more than 70% of the hours watched during the quarter.
According to a new report from StreamElements, Twitch viewers live-streamed a total of 2.72+ billion hours in Q2 — or 72.2% of all live hours watched — compared with 735.54 million hours on YouTube Live (19.5%), 197.76 million on Facebook Gaming (5.3%) and just 112.29 million hours (3%) on Mixer.
Combined, the total hours watched across all four platforms was 3.77 billion in Q2.
While none of Twitch’s rivals are nearly catching up, YouTube Live did have a good month in May, breaking its own record with 284 million hours watched. Overall, YouTube Live’s hours watched improved in Q2 as a result, while Twitch saw a slight decline.
Facebook Gaming is also gaining steam. It’s now the third-biggest live-streaming platform, having passed Microsoft Mixer.
Despite its traction, Twitch doesn’t have much of a long tail when it comes to stream viewership. That’s a problem it has faced for some time, as newcomers complained they spent years broadcasting to no one in hopes of gaining a fan base, with little success. Twitch has tried to remedy this problem with various educational efforts as well as product features like Raids and Squad Streams, for example.
However, the new report finds that the majority (almost 75%) of Twitch’s viewership still comes from people tuning in to the top 5,000 channels. Out of the 2.7 billion hours watched in Q2, these top 5,000 channels drove 2 billion of those hours watched.
In addition, the average concurrent viewership (viewers watching at the same time) of the top 5,000 channels increased by 12% in Q2 2019, compared with Q1. The top 200 channels have the highest concurrent viewership with 10,590 people watching together, on average.
Also in the quarter, viewership of top titles like Fortnite, League of Legends, Dota 2 and Counter-Strike: Global Offensive declined, while vlogging — aka “Just Chatting” — grew, along with other titles.
Esports, meanwhile, still draws big numbers, but represents only a small slice of the overall pie.
The full report, which takes a look at other trends, including which streamers are gaining and losing popularity, is available here.
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Apple TV+ makes Facebook Watch look like a joke
Apple flexed its wallet today in a way Facebook has scared to do. Tech giants make money by the billions, not the millions, which should give them an easy way to break into premium video distribution: buy some must-see content. That’s the strategy I’ve been advocating for Facebook but that Apple actually took to heart. Tim Cook wrote lines of zeros on some checks, and suddenly Steven Spielberg, JJ Abrams, Reese Witherspoon, Jennifer Aniston, and Oprah became the well-known faces of Apple TV+.
Facebook Watch has…MTV’s The Real World? The other Olsen sister? Re-runs of Buffy The Vampire Slayer? Actually, Facebook Watch is dominated by the kind of low-quality viral video memes the social network announced it would kick out of its News Feed for wasting people’s time.
And so while Apple TV+ at least has a solid base camp from which to make the uphill climb to compete with Netflix, Facebook Watch feels like it’s tripping over its own feet.
Today, Apple gave a preview of its new video subscription service that will launch in fall offering unlimited access to old favorites and new exclusives for a monthly fee. Yet even without any screenshots or pricing info, Apple still got people excited by dangling its big-name content.
Spielberg is making short films out of the Amazing Stories anthology that inspired him as a child. Abrams is spinning a tale of a musician’s rise called Little Voice Witherspoon and Aniston star in The Morning Show about anchoring a news program. And Oprah is bringing documentaries about workplace harassment and mental health.
This tentpole tactic will see Apple try to draw users into a free trial of Apple TV+ with this must-see content and then convince them to stay. And a compelling, exclusive reason to watch is exactly what’s been missing from…Facebook Watch. Instead, it chose to fund a wide array of often unscripted reality and documentary shorts that never felt special or any better than what else was openly available on the Internet, let alone what you could get from a subscription. It now claims to have 75 million people Watching at least one minute per day, but it’s failed to spawn a zeitgeist moment. Even as Facebook has scrambled to add syndicated TV cult favorites like Firefly or soccer matches to free, ad-supported video service, it’s failed to sign on anything truly newsworthy.
That’s just not going to fly anymore. Tech has evolved past the days when media products could win just based on their design, theoretical virality, or the massive audiences they’re cross-promoted to. We’re anything but starved for things to watch or listen to. And if you want us to frequent one more app or sign up for one more subscription, you’ll need A-List talent that makes us take notice. Netflix has Stranger Things. HBO has Game Of Thrones. Amazon has the Marvelous Mrs. Maisel. Disney+ has…Marvel, Star Wars, and the princesses. And now Apple has the world’s top directors and actresses.
Video has become a battle of the rich. Apple didn’t pull any punches. Facebook will need to buy some new fighters if Watch is ever going to deserve a place in the ring.
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Media fragmentation is annoying consumers
Deloitte’s Technology, Media and Telecommunications division published its 13th-annual Digital Media Trends survey, focused on identifying changes in the ways US consumers engage with various types of media.
Led by an independent research firm, the survey had roughly 2,000 consumer respondents across demographics – with the report categorizing respondents based on age (Gen-Z: ages 14-21, Millenials: 22-35, Gen-X: 36-52, Boomers: 53-71, and Matures: 72+).
While already accompanied by a succinct 13-page executive summary, the report can largely be summarized in just a couple of sentences: more people are using streaming or alternative media services than ever before, largely due to more user freedom and customization, though the growing quantity and fragmentation of platforms are becoming more frustrating for users to manage.
The survey results directionally echo already well-discussed dynamics, which we’ve previously dug into such as here, here and here. Instead, the most poignant aspects of the report were not the answers or conclusions themselves, but the immense level of support many of them received.
Somewhat interesting:
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