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We’ve known for a long time that music streaming royalties are fundamentally broken. As revenue has shifted away from sales of physical music, it’s become increasingly difficult for many independent artists to make a living off recorded music. But all of that has come to a head as the pandemic has stripped live music out of the equation entirely.
Some services have looked to buck the trend. The immensely popular Bandcamp Fridays are a notable example, offering all revenue to artists and labels one day a month. And now SoundCloud is looking to shake up how it pays its own independent creators — a move that could prove a nice boon for musicians on a service that’s lent its name to at least one popular musical subgenre.
The site will institute a new revenue structure at the beginning of next month. Soundcloud breaks down “Fan-powered” royalties thusly,
Fan-powered royalties are a more equitable and transparent way for independent artists who monetize directly with SoundCloud to get paid. The more fans listen on SoundCloud, and listen to your music, the more you get paid.
Under the old model, money from your dedicated fans goes into a giant pool that’s paid out to artists based on their share of total streams. That model mostly benefits mega stars.
Under fan-powered royalties, you get paid based on your fans’ actual listening habits. The more of their time your dedicated fans listen to your music, the more you get paid. This model benefits independent artists.
The service is available for independent artists who monetize their pages through select Pro accounts. There are a number of factors that go into the final payment (the first of which will arrive in May), including whether listeners have a subscription, the amount they’ve listened to one artist relative to others and ads they’ve listened to. The fine print is available here.
Musicians have become increasingly vocal about their inability to live off of streaming revenue as the pandemic has cut off major income sources over the past year. Spotify, in particular, has drawn harsh criticism as the company has spent hundreds of millions on podcast acquisitions while maintaining old revenue models for musicians.
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Instagram today announced it’s adding a much-requested feature to its app with the launch of “Live Rooms,” which allow up to four people to broadcast live together at the same time. Previously, the app only allowed users to live stream with one other person, similar to Facebook Live. The company says it hopes Live Rooms will open up more creative opportunities in terms of live broadcast formats to allow for things like live talk shows, expanded Q&A’s or interviews, jam sessions for musicians, live shopping experiences and more.
In addition to the ability to livestream with more people, Instagram also touts how the new feature can help creators to make more money. Last year, in the early days of the COVID-19 crisis, Instagram introduced badges as a way for fans to support their favorite creators during a live video. Once purchased, the badges appear next to a fan’s name throughout the live video, helping them to stand out in the comments and unlock other special features, like placement on the creator’s list of badge holders and access to a special heart.
Badges became more broadly available last fall, at three price points: $0.99, $1.99 or $4.99.
With Live Rooms, fans can buy badges to support the hosts (one badge per person) as well as use other interactive features like Shopping and Live Fundraisers. The company says it’s also now developing other tools, like moderator controls and audio features that will roll out in the months to come.
To start a Live Room, you’ll swipe left and select the Live camera option, then title the Room and tap the Room icon to add guests. Here, you’ll see a list of people who’ve already requested to go live with you and you’ll be able to search for other guests to add.
Image Credits: Instagram
When you start the Live Room, you’ll remain at the top of the screen while guests are added. The guests can be added all at once or individually, depending on your preference. This allows for opportunities to add “surprise guests” to livestreams to keep fans engaged.
The ability to add more guests to a livestream can also help a creator grow their follower base, as all the guests’ followers are notified about the Live Room, in addition to your own.
For safety reasons, any person that’s been blocked by any of the Live Room participants will not have access to join the livestream. Plus, any guests who have previously had their live access revoked due to violations of Instagram’s Community Guidelines won’t be able to join any Live Rooms.
During live broadcasts, the hosts can also report and block comments and use comment filters to maintain a safer experience for all viewers.
Live broadcasts became an increasingly important way for creators, business owners and brands to stay connected with followers during the pandemic, which shut down in-person live events, including concerts, shows, classes, conferences, meetups and more. Instagram reported a 70% increase in Live views from February to March, for instance, as creators and businesses shifted their work online.
Image Credits: Instagram
As the pandemic wore on throughout 2020 and into 2021, the lack of in-person connection has allowed for other opportunities and even new social networks to grow. Live audio platform Clubhouse, for example, has seen rapid adoption, particularly by the tech and creative crowds, who today use the app to tune into live shows, chat sessions and even big-name interviews. Twitter is now building a rival, and reportedly, so is Facebook.
But while Clubhouse offers a very different experience, it still operates in the same broader space of allowing fans to connect with high-profile individuals of some sort — entrepreneurs and founders, celebrities, market experts, thought leaders, influencers and so on. And because users’ time is limited, seeing this type of activity shift to non-Facebook owned platforms is likely of concern to Instagram and its parent.
Meanwhile, in the live video broadcasting space, Instagram today faces a number of competitors, from those focused on a particular niche — like game streaming site Twitch, live shopping apps and more— as well as general purpose live platforms offered by YouTube and TikTok. (The latter was spotted offering a four-up livestream format just last month, in fact.)
Instagram says Live Rooms are rolling out now to both iOS and Android to all global markets. The company expects the rollout to reach 100% of its user base within the week.
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Spotify this morning confirmed it’s testing a new, synced lyrics feature in the U.S. market, following a report from Engadget. Though the streaming music service today offers live lyrics in a number of markets — 27, in fact, including its recent launch in South Korea — it has not offered lyrics in the U.S. for many years. Instead, Spotify here runs the “Behind the Lyrics” feature provided in partnership with Genius, which offers a combination of lyrics and trivia about the song being played.
Reached for comment, Spotify said the new lyrics feature rolled out as a test for some users in the U.S. starting today.
“We can confirm we’re currently testing our lyrics feature to a select number of users in the U.S.,” a spokesperson told TechCrunch. “At Spotify, we routinely conduct a number of tests in an effort to improve our user experience. Some of those tests end up paving the way for our broader user experience and others serve only as an important learning.”
The company declined to share additional details about its plans, but did note that its U.S. partner on the new lyrics feature is Musixmatch — a service that already powers Spotify’s lyrics feature in various non-U.S. markets.
This is not the first time Spotify has run a lyrics feature in the U.S., to be clear. The streaming service had originally worked with Musixmatch from 2011 through 2016, before ending that relationship to instead partner with Genius. But despite ongoing user demand for lyrics’ return, Spotify never brought the feature back to the U.S.
In more recent years, however, Spotify rekindled its relationship with Musixmatch. Last year, it announced the launch of real-time lyrics in, then, 26 worldwide markets across Southeast Asia, India and Latin America. This had been the first time lyrics were offered in 22 of these 26 markets, as only Thailand, Vietnam, Indonesia and Mexico had some form of prior lyrics support via other providers.
Spotify’s ongoing lack of support for lyrics in the U.S. has given its streaming music competitors an advantage. Amazon Music, for example, allowed users to view lyrics as songs played and tied the feature to its Alexa voice platform, so consumers could ask Alexa to search for songs by lyrics. Meanwhile, the updated version of Apple Music that rolled out with iOS 12 in 2018 included a way to search by lyrics, instead of just artist, album or song title. It later added live, synced lyrics with the launch of iOS 13. Siri can also respond to commands that involve lyrics.
Musixmatch additionally confirmed it has partnered with Spotify on the new U.S. test.
“Musixmatch is growing at a fast pace thanks to [the] continued investment we’ve made [over] a decade. We’re focused now on bringing more data to continue enriching the audio experience globally,” Musixmatch CEO and founder Max Ciociola told TechCrunch.
Because the lyrics feature is only a test, you may not see it yourself in the Spotify app, due to its limited availability. Spotify has not said if or when the test may be expanded.
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Sports have been among some of the most popular and lucrative media plays in the world, luring broadcasters, advertisers and consumers to fork out huge sums to secure the chance to watch (and sponsor) their favorite teams and athletes.
That content, unsurprisingly, also typically costs a ton of money to produce, narrowing the production and distribution funnel even more. But today, a startup that’s cracked open that model with an autonomous, AI -based camera that lets any team record, edit and distribute their games, is announcing a round of funding to build out its business targeting the long tail of sporting teams and fixtures.
Veo Technologies, a Copenhagen startup that has designed a video camera and cloud-based subscription service to record and then automatically pick out highlights of games, which it then hosts on a platform for its customers to access and share that video content, has picked up €20 million (around $24.5 million) in a Series B round of funding.
The funding is being led by Danish investor Chr. Augustinus Fabrikker, with participation from U.S.-based Courtside VC, France’s Ventech and Denmark’s SEED Capital. Veo’s CEO and co-founder Henrik Teisbæk said in an interview that the startup is not disclosing its valuation, but a source close to funding tells me that it’s well over $100 million.
Teisbæk said that the plan will be to use the funds to continue expanding the company’s business on two levels. First, Veo will be digging into expanding its U.S. operations, with an office in Miami.
Second, it plans to continue enhancing the scope of its technology: The company started out optimising its computer vision software to record and track the matches for the most popular team sport in the world, football (soccer to U.S. readers), with customers buying the cameras — which retail for $800 — and the corresponding (mandatory) subscriptions — $1,200 annually — both to record games for spectators, as well as to use the footage for all kinds of practical purposes like training and recruitment videos. The key is that the cameras can be set up and left to run on their own. Once they are in place, they can record using wide-angles the majority of a soccer field (or whatever playing space is being used) and then zoom and edit down based on that.
Image Credits: Veo Technologies
Now, Veo is building the computer vision algorithms to expand that proposition into a plethora of other team-based sports, including rugby, basketball and hockey, and it is ramping up the kinds of analytics that it can provide around the clips that it generates, as well as the wider match itself.
Even with the slowdown in a lot of sporting activity this year due to COVID — in the U.K. for example, we’re in a lockdown again where team sports below professional leagues, excepting teams for disabled people, have been prohibited — Veo has seen a lot of growth.
The startup currently works with some 5,000 clubs globally ranging from professional sports teams through to amateur clubs for children, and it has recorded and tracked 200,000 games since opening for business in 2018, with a large proportion of that volume in the last year and in the U.S.
For a point of reference, in 2019, when we covered a $6 million round for Veo, the startup had racked up 1,000 clubs and 25,000 games, pointing to customer growth of 400% in that period.
The COVID-19 pandemic has indeed altered the playing field — literally and figuratively — for sports in the past year. Spectators, athletes and supporting staff need to be just as mindful as anyone else when it comes to spreading the coronavirus.
That’s not just led to a change in how many games are being played, but also for attendance: witness the huge lengths that the NBA went to last year to create an extensive isolation bubble in Orlando, Florida, to play out the season, with no actual fans in physical seats watching games, but all games and fans virtually streamed into the events as they happened.
That NBA effort, needless to say, came at a huge financial cost, one that any lesser league would never be able to carry, and so that predicament has led to an interesting use case for Veo.
Pre-pandemic, the Danish startup was quietly building its business around catering to the long tail of sporting organizations which — even in the best of times — would be hard-pressed to find the funds to buy cameras and/or hire videographers to record games, not just an essential part of how people can enjoy a sporting event, but useful for helping with team development.
“There is a perception that football is already being recorded and broadcast, but in the U.K. (for example) it’s only the Premier League,” Teisbæk said. “If you go down one or two steps from that, nothing is being recorded.” Before Veo, to record a football game, he added, “you need a guy sitting on a scaffold, and time and money to then cut that down to highlights. It’s just too cumbersome. But video is the best tool there is to develop talent. Kids are visual learners. And it’s a great way to get recruited, sending videos to colleges.”
Those use cases then expanded with the pandemic, he said. “Under coronavirus rules, parents cannot go out and watch their kids, and so video becomes a tool to follow those matches.”
The business model for Veo up to now has largely been around what Teisbæk described as “the long tail theory”, which in the case of sports works out, he said, as “There won’t be many viewers for each match, but there are millions of matches out there.” But if you consider how a lot of high school sports will attract locals beyond those currently attached to a school — you have alumni supporters and fans, as well as local businesses and neighborhoods — even that long tail audience might be bigger than one might imagine.
Veo’s long-tail focus has inevitably meant that its target users are in the wide array of amateur or semi-pro clubs and the people associated with them, but interestingly it has also spilled into big names, too.
Veo’s cameras are being used by professional soccer clubs in the Premier League, Spain’s La Liga, Italy’s Serie A and France’s Ligue 1, as well as several clubs in the MLS such as Inter Miami, Austin FC, Atlanta United and FC Cincinnati. Teisbæk noted that while this might never be for primary coverage, it’s there to supplement for training and also be used in the academies attached to those organizations.
The plan longer term, he said, is not to build its own media empire with the trove of content that it has amassed, but to be an enabler for creating that content for its customers, who can in turn use it as they wish. It’s a “Shopify, not an Amazon,” said Teisbæk.
“We are not building the next ESPN, but we are helping the clubs unlock these connections that are already in place by way of our technology,” he said. “We want to help them capture and stream their matches and their play for the audience that is there today.”
That may be how he views the opportunity, but some investors are already eyeing up the bigger picture.
Vasu Kulkarni, a partner at Courtside VC — a firm that has focused (as its name might imply) on backing a lot of different sports-related businesses, with The Athletic, Beam (acquired by Microsoft) and many others in its portfolio — said that he’d been looking to back a company like Veo, building a smart, tech-enabled way to record and parse sports in a more cost-effective way.
“I spent close to four years trying to find a company trying to do that,” he said.
“I’ve always been a believer in sports content captured at the long tail,” he said. Coincidentally, he himself started a company called Krossover in his dorm room to help somewhat with tracking and recording sports training. Krossover eventually was acquired by Hudl, a competitor to Veo.
“You’ll never have the NBA finals recorded on Veo, there is just too much at stake, but when you start to look at all the areas where there isn’t enough mass media value to hire people, to produce and livestream, you get to the point where computer vision and AI are going to be doing the filming to get rid of the cost.”
He said that the economics are important here: the camera needs to be less than $1,000 (which it is) and able to produce something demonstrably better than “a parent with a Best Buy camcorder that was picked up for $100.”
Kulkarni thinks that longer term there could definitely be an opportunity to consider how to help clubs bring that content to a wider audience, especially using highlights and focusing on the best of the best in amateur games — which of course are the precursors to some of those players one day being world-famous elite athletes. (Think of how exciting it is to see the footage of Michael Jordan playing as a young student for some context here.) “AI will be able to pull out the best 10-15 plays and stitch them together for highlight reels,” he said, something that could feasibly find a market with sports fans wider than just the parents of the actual players.
All of that then feeds a bigger market for what has started to feel like an insatiable appetite for sports, one that, if anything, has found even more audience at a time when many are spending more time at home and watching video overall. “The more video you get from the sport, the better the sport gets, for players and fans,” Teisbæk said.
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YouTube has long allowed its users to test new features and products before they go live to a wider audience. But in a recent change, YouTube’s latest series of experiments are being limited to those who subscribe to the Premium tier of YouTube’s service. Currently, paid subscribers are the only ones able to test several new product features, including one that allows iOS users to watch YouTube videos directly on the home screen.
This is not the same thing as the Picture-in-Picture option that’s become available to app developers with iOS 14, to be clear. Instead, YouTube says this feature allows users who are scrolling on their YouTube home page to watch videos with the sound on while they scroll through their feed.
Two other experiments are related to search. One lets you filter topics you search for by additional languages, including Spanish, French or Portuguese. The other lets you use voice search to pull up videos when using the Chrome web browser.
Image Credits: YouTube, screenshot via TechCrunch
None of these tests will be very lengthy, however. Two of the three new experiments wrap up on October 20, 2020 for example. The other wraps on October 27. And they’ve only been live for a few weeks.
In years past, YouTube had allowed all users to try out new features in development from a dedicated site dubbed “TestTube.” In more recent years, however, it began to use the website YouTube.com/new to direct interested users to upcoming features before they rolled out publicly. For example, when YouTube introduced its redesign in 2017, users could visit that same website to opt-in to the preview ahead of its launch.
Now, the site is being used to promote other limited-time tests.
YouTube says the option to test the features was highlighted to Premium subscribers a few weeks ago within the YouTube app. It’s also the first time that YouTube has run an experimentation program tied to the Premium service, we’re told.
The company didn’t make a formal public announcement, but the addition was just spotted by several blogs, including XDA Developers and Android Central, for example.
Contrary to some reports, however, it does not appear that YouTube’s intention is to close off all its experiments to anyone except its paid subscribers. The company’s own help documentation, in fact, notes this limitation will only apply to “some” of its tests.
YouTube also clarified to TechCrunch that the tests featured on the site represent only a “small minority” of those being run across YouTube. And they are not at all inclusive of the broader set of product experiments the company runs, according to the company.
In addition, non-Premium users can opt to sign up to be notified of additional opportunities to participate in other YouTube research studies, if they choose. This option appears at the bottom of the YouTube.com/new page.
YouTube says the goal with the new experiments is two-fold. It allows product teams to receive feedback on different features and it allows Premium subscribers to act as early testers, if they want to.
Premium users who choose to participate can opt into and out of the new features individually, but can only try one experiment at a time.
This could serve to draw more YouTube users to the Premium subscription, as there’s a certain amount of clout involved with being able to try out features and products ahead of the general public. Consider it another membership perk then — something extra on top of the baseline Premium tier features like ad-free videos, downloads, background play and more.
YouTube, which today sees more than 2 billion monthly users, said earlier this year it has converted at least 20 million users to a paid subscription service. (YouTube Premium / YouTube Music). As of Q3 2020, YouTube was the No. 3 largest app by consumer spend worldwide across iOS and Android, per App Annie data.
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The much-anticipated addition of “Hamilton” seems to have paid off for Disney+. According to new data from app store analytics firm Apptopia, Disney’s streaming service saw a big jump in downloads over the July 4 holiday weekend in the U.S., following the worldwide debut of “Hamilton” on Friday, July 3rd. Between Friday and Sunday, that translated to over half a million new global downloads (752K+) for the Disney+ mobile app, excluding India and Japan. Some 458K+ of those downloads were in the U.S, the firm estimated.
These figures represent a 46.6% increase over the average seen during the previous four weekends in June (Friday through Sunday), Apptopia noted. But the numbers don’t include India or Japan as Disney+ is streamed via Hotstar in the former; and in the latter via a partnership with NTT Docomo through an existing service that later transitioned to Disney+.
Image Credits: Apptopia
The download figures also represented a 74% increase over the four prior weekends in June, in the U.S, indicating that a significant amount of interest in “Hamilton,” not surprisingly — given its “founding fathers” subject matter — comes from U.S. subscribers.
Notably, these downloads represent paid subscribers, not free trial users, as Disney+ ended its free week-long trial offering back in June.
Rival firm Sensor Tower estimates a slightly different “Hamilton”-related bump for Disney+. During the week of June 29 to July 5, downloads spiked 64% over the week prior, Yahoo reported. Its preliminary estimates for July 3-5 put installs at 1 million across all available markets.
Image Credits: Apptopia
Apptopia also found that “Hamilton” represented the biggest content launch of all of 2020, so far, in terms of downloads. That means it also outpaced the streaming launch of “Frozen 2,” which arrived while consumers were under coronavirus lockdowns. It was also bigger than “Onward,” “Artemis Fowl,” and others, the firm found.
Image Credits: Disney
Of course, mobile download numbers don’t provide a full picture of how many signed up just for “Hamilton.” Many of the new Disney+ subscribers likely only signed up via a TV app and have yet to download the mobile companion.
If Roku’s online channel store offered a “top charts” section with rankings, we would have another window into Disney+ popularity given its status as a top streaming device and TV maker in the U.S. But it’s worth pointing out that Roku’s user base has given the Disney+ app a 4.3-star rating across 1,55,006 total reviews. For comparison, Netflix has 3,675,383 reviews — which shows how quickly the still relatively new service Disney+ is gaining on the market leader.
In May, Disney announced its streaming service had grown from 33.5 million subscribers as of March 28 to 54.4 million Disney+ subscribers as of May 4.
The service appeals to those who follow Disney’s top brands like Star Wars and Marvel, for example, but it’s also found a lot of growth among families who now more than ever need content to keep kids entertained amid the coronavirus outbreak, which has limited families’ usual activities and kept kids indoors. At the $6.99 per month price point (or $69.99/yr), it’s one of the more affordable streaming services available.
Updated 7/6/20 3 PM ET: Apptopia revised its estimates this afternoon to indicate a larger increase of 74%, not 72.4% as the earlier headline stated. We’ve updated the article with its most recent data as well as the firm’s latest estimates on downloads. We’ll continue to update if newer numbers arrive.
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As investors’ appetites sour in the midst of a pandemic, a three-and-a-half-year-old Indian firm has secured $10.3 billion in a month from Facebook and four U.S.-headquartered private equity firms.
The major deals for Reliance Jio Platforms have sparked a sudden interest among analysts, executives and readers at a time when many are skeptical of similar big check sizes that some investors wrote to several young startups, many of which are today struggling to make sense of their finances.
Prominent investors across the globe, including in India, have in recent weeks cautioned startups that they should be prepared for the “worst time” as new checks become elusive.
Elsewhere in India, the world’s second-largest internet market and where all startups together raised a record $14.5 billion last year, firms are witnessing down rounds (where their valuations are slashed). Miten Sampat, an angel investor, said last week that startups should expect a 40%-50% haircut in their valuations if they do get an investment offer.
Facebook’s $5.7 billion investment valued the company at $57 billion. But U.S. private equity firms Silver Lake, Vista, General Atlantic, and KKR — all the other deals announced in the past five weeks — are paying a 12.5% premium for their stake in Jio Platforms, valuing it at $65 billion.
How did an Indian firm become so valuable? What exactly does it do? Is it just as unprofitable as Uber? What does its future look like? Why is it raising so much money? And why is it making so many announcements instead of one.
It’s a long story.
Billionaire Mukesh Ambani gave a rundown of his gigantic Indian empire at a gathering in December 2015 packed with 35,000 people including hundreds of Bollywood celebrities and industry titans.
“Reliance Industries has the second-largest polyester business in the world. We produce one and a half million tons of polyester for fabrics a year, which is enough to give every Indian 5 meters of fabric every year, year-on-year,” said Ambani, who is Asia’s richest man.
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Amazon-owned game-streaming site Twitch announced today the formation of a new group that will guide decision-making around new policies and products: the Twitch Safety Advisory Council. The eight-person council consists of both online experts and Twitch creators, who have a deep understanding of the Twitch platform, its content and community, the company says.
“When developing this council we felt it was essential to include both experts who can provide an external perspective, as well as Twitch streamers who deeply understand creators’ unique challenges and viewpoints,” Twitch explained, in an announcement introducing the new council members. “Each member of the council was carefully selected based on their familiarity with the Twitch community and their relevant personal and professional experiences.”
Twitch says it felt the need to create a group like this to allow communities to thrive on Twitch, particularly at a time its platform is seeing record levels of engagement. Due to the coronavirus outbreak, streaming services have seen sizable increases in usage — and Twitch has been no exception.
According to recent data from Arsenal.gg, StreamElements’ analytics partner, Twitch saw 48% month-over-month growth in hours watched between March and April, including game streams and non-gaming content combined, reaching 1.65 billion hours watched last month. Year-over-year, Twitch was up by 101% in hours watched as of April, thanks to sizable growth of Twitch’s “Just Chatting” category of non-game content that alone climbed 138% year-over-year.
Twitch confirmed some of these metrics, noting hours watched were up over 50% in the past four weeks since social distancing began. It also said that, in 2019, it was seeing an average of over 4 million unique streamers per month, totaling 10 billion hours watched.
But the growth in viewers and content means there’s also a lot more to manage to keep the community safe, which is where the advisory council is meant to help.
The group will offer their input on the drafting of new policies and policy updates; the development of new products and features aimed at improving safety and moderation; the promotion of healthy streaming and “work-life balance” habits; the protection of interests from marginalized groups; and the identification of emerging trends that could impact the Twitch experience.
In its announcement, Twitch introduced the new members as follows (its words):
Alex Holmes
Alex is Deputy CEO at non-profit The Diana Award, which is a legacy to Princess Diana’s belief that young people have the power to change the world. He is the founder of the peer to peer support program Anti-Bullying Ambassadors, a network of trained young people dedicated to preventing peer on peer violence (on and offline) and bullying, particularly in schools. Alex sits on the global safety advisory boards of a number of the major social media and tech companies advising them on their approach to safety and online harms.
CohhCarnage is a Twitch Partner and one of the original variety streamers on Twitch. He plays most major releases and indie darlings and is well known for his 100% franchise playthroughs leading up to major game releases. He is also a regular host on Dropped Frames, which covers the hottest news and games on the streaming scene. CohhCarnage is known for his positive community “The Cohhilition” and his slogan “happy, helpful, respectful.”
Cupahnoodle is a partnered Twitch Ambassador and host/commentator, the Mayor of Cupton, a lover of zombies, and a music connoisseur. Her streams range from playing games, to hosting conventions and on site interviews, to providing colorful commentary at esports events.
Emma Llansó
Emma is the Director of the Center for Democracy & Technology’s Free Expression Project and leads CDT’s work to promote law and policy that support Internet users’ free expression rights in the United States, the European Union, and around the world. The Project’s work spans many subjects, including human trafficking, privacy and online reputation issues, counter-terrorism and “radicalizing” content, disinformation, and online harassment. Emma’s areas of focus include intermediary liability law, the capabilities and limitations of automated content analysis, transparency reporting, and best practices in content moderation for empowering users and online communities.
Steph has been a full time streamer since her debut playing competitive collegiate Heroes of the Storm in 2016. She was one of the first transgender streamers to ever be partnered on Twitch, and the first to bring a transgender pride flag emote to the platform. Her fight for inclusivity includes creating a competitive team composed entirely of marginalized gamers, and vehemently opposing non inclusive mechanics such as voice chat.
Dr. Sameer Hinduja
Dr. Hinduja is a Professor in the School of Criminology and Criminal Justice at Florida Atlantic University and Co-Director of the Cyberbullying Research Center. He is recognized internationally for his groundbreaking work on the subjects of cyberbullying, sexting, and social media abuse, concerns that have paralleled the exponential growth in online communication by young people. As a noted speaker and expert on teens and social media use, Dr. Hinduja also trains students, educators, parents, mental health professionals, and other youth workers on how to promote the positive use of technology. Dr. Hinduja is also the Co-Founder and Co-Editor-in-Chief of the International Journal of Bullying Prevention, a new peer-reviewed journal from Springer.
T.L. Taylor
T.L. Taylor is Professor of Comparative Media Studies at MIT and co-founder and Director of Research for AnyKey, an organization dedicated to supporting and developing fair and inclusive esports. She is a qualitative sociologist who has focused on internet and game studies for over two decades. Dr. Taylor’s research explores the interrelations between culture and technology in online leisure environments. Her 2018 book, Watch Me Play: Twitch and the Rise of Game Live Streaming, is the first of its kind to chronicle the emerging media space of online game broadcasting.
Zizaran is a Twitch Partner who has been streaming since 2015. His streams mostly focus on ARPGs, particularly Path of Exile. He believes that Twitch has a culture you can’t find anywhere else and looks forward to helping Twitch make rules clearer and reducing community confusion, specifically when it comes to bans and suspensions on the platform.
The council’s launch isn’t just about keeping Twitch safe and welcoming. It’s also arriving at a time when Twitch is pitching itself to advertisers, whose marketing efforts have been impacted due to the cancellations of live events and sports amid the pandemic. Advertisers, burned by YouTube in the past, are looking for brand safety.
This coronavirus pandemic has increased demand from clients who have accelerated their interest in Twitch, the company recently told The Drum in an interview. In addition, the game-streaming site can help address viewers’ demand for sports content through its sports sims, and their demand for competitions to watch through esports.
On the latter front, Twitch just weeks ago launched an esports directory on its site to cater to its growing streaming audience. It also recently partnered with Comscore to bring gaming and esports stats to advertisers.
The site generated $230 million ad revenue in 2018, which increased to $300 million in 2019, according to a report by The Information. But ad rates are down in 2020 due to the pandemic. That means Twitch may gain more interest and more advertisers, but not see a significant jump in revenue to reflect that until further down the road.
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Twitch is doubling down on esports in this new era of social distancing as a number of traditional sporting events have been cancelled. The company this week introduced a new esports directory on its site that will make it easier for viewers to find live matches, information on players, games with active competition leagues, a directory of players and more.
The goal, Twitch says, is on making Twitch easier to navigate with regard to this sort of gaming content — particularly at a time when its site is seeing a surge of growth due to the COVID-19 lockdown. According to a recent report from Streamlabs, the pandemic has since pushed Twitch to reach all-time highs for hours watched, hours streamed and average concurrent viewership in the first quarter of 2020.
Notably, it surpassed 3 billion hours watched for the first time — a significant milestone.
The new esports directory will help Twitch centralize its content in an easy-to-find and easy-to-navigate section on its site.
At the top, users can click on favorite games to see matching content. Below, current live matches are featured, followed by replays and highlights further down.
Viewers will also be shown a players directory at the bottom of the page that lets you see who’s currently live.

Twitch says the directory will be populated with competitive and premier esports around the world, including ESL Katowice, Rocket League Championships Series, Twitch Rivals and the League of Legends World Championship, among others. Over time, Twitch plans to add more events, channels and pros to keep the content fresh.
In addition, users browsing the dedicated section will be recommended content based on their own viewing history, increasing the chance that they’ll find an esports stream they’ll want to watch.
However, the site is also organized for discovery, as a click on the “All Games” option lets you easily see a variety of games and recaps being offered through the site.
Twitch says the directory launched on Wednesday but is rolling out over the “coming days” — meaning, if you don’t have it just yet, check back in a bit. (The dedicated URL for the new directory is twitch.tv/directory/esports if you want to visit directly.)
Though more people are going online for gaming entertainment due to the coronavirus outbreak, the esports market overall will take a slight hit from the pandemic in the near-term.
According to Newzoo, the global esports market will generate revenues of $1,059.3 million in 2020, down from its previous estimate of $1,100.1 million. This is mainly due to coronavirus-related cancellations and postponements of live events. Twitch’s new directory is an attempt to get ahead of the trend that will see many esports events shifted to digital-only formats.
This shift will actually lead to higher streaming revenues in the future, as global quarantines send more users online and encourage new entrants to join the market. As a result, Newzoo’s forecast for team streaming revenues increased from $18.2 million to $19.9 million in 2020, and $31.6 million to $34.4 million in 2023.
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Google is adding a new feature to Search that will help you keep track of all the TV shows and movies you want to watch during these long weeks at home. The company had already been offering personalized TV and movie recommendations in Search, as of an update released last fall. Building out a watchlist with your top picks is the obvious next step.
To get started, mobile users can first search “what to watch” to get Google’s suggestions. They are organized at the top of the search results, and can be filtered by type (show or movie), by whether the content is free, by category (comedy, action, documentary, sitcom, kid-friendly, etc.) and by provider. Google also offers a rating experience where you train its algorithms on what sort of content you like and dislike.
For any movie or show you want to then add to your list, you just tap “Watchlist” in the preview window. You can also tap “Watched” if it’s something you’ve already seen.
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The new Watchlist is available as a second tab at the top of this What to watch section, and can be accessed any time you’re searching for something to buy, rent or stream. You can also search for “my watchlist” on Google or tap on “Collections” from within the Google app to access your list more quickly.
At launch, Google had said the TV and movies feature was designed to further the company’s larger goal of helping connect people with the information they need — it was not offering the data to advertisers. But by placing a regularly used feature like this within Google, users will spend more time on Google’s platform, which helps Google’s business.
While Google’s version of the watchlist concept is handy for more casual users, a number of dedicated mobile apps offer an expanded experience and, at times, more accurate and more granular recommendations. For example, TV Time not just makes recommendations, but also lets you check off which episodes you’ve watched from a series and participate in a mobile forum of sorts with other fans. Reelgood, Watchworthy, Taste, Bingeworthy, Likewise, itcher, Hai and many other apps also offer show and movie suggestions to varying degrees of success.
Reelgood even recently launched a feature called Reelgood Remote, which will instantly play the content you choose on your Roku device.
Google’s new Watchlist feature was one of several additions rolling out today focused on entertainment.
On Android TV devices, it also added three new home screen rows from YouTube, including COVID-19 News, Stay Home #WithMe and free movies from YouTube. Android TV also gained more collections from Google Play, while streaming apps are now organized under a row titled “Stream the shows and movies you love.”

Plus, on Google Play, the company has recently introduced a collection of special deals, including offers on apps for movies, TV and comics, among other things. There are offers for game streaming service Google Stadia and subscription service Google Play Pass, as well.
The Google Watchlist feature is live now on mobile devices.
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