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The novel coronavirus pandemic has rapidly moved companies into a remote-first world.
Nearly all of the world’s largest events have been canceled, put on pause or pivoted to online-only. In the tech world, event cancellations thus far have included SXSW, GDC, Mobile World Congress, Google I/O, Facebook F8, E3 and others.
As more and more hosts consider staging fully remote events as possible alternatives, we decided to take a deeper look into the venture-backed startups focused on supporting large-scale virtual gatherings, like Hopin and Run The World. To further understand the impact of COVID-19, we asked five leading VCs who have invested in or have knowledge of startups focused on remote events to update us on the state of the market and to share where they see opportunity in the sector:
Which trends in remote events/conferencing excite you the most from an investing perspective?
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Following a successful debut for Tinder’s first foray into original content, the company is giving its interactive video series “Swipe Night” another run. The company confirmed today it’s renewing “Swipe Night” for a second season, which will launch this summer (again) as an in-app experience within Tinder’s dating app.
Variety first reported the news of “Swipe Night’s” return. Tinder further confirmed the details to TechCrunch.
“Swipe Night,” as you may recall, first launched in October 2019 within Tinder. The experience introduced a first-person adventure played in-app, where users would make choices at key turning points to progress the narrative — like a choose-your-own-adventure story.
The series was designed to increase user engagement and help the app’s young users better connect.
Today, half of Tinder is Gen Z (ages 18-25) — a demographic that’s embracing their single lifestyle and more casual relationships compared with those on other dating apps, like Tinder parent company Match, for example, or its newer acquisition Hinge. These younger users connected with the idea of starting conversations based on a shared experience, says Tinder.
However, the reality is that “Swipe Night” had also arrived at a time when users were opening Tinder’s app less on a daily basis, even as monthly usage climbed. Though “Swipe Night” only ran on specific dates in October 2019, users’ choices within the interactive experience were added to their profiles. This allowed users to see who else agreed with their decisions and who took the opposite path. That made launching Tinder and swiping through profiles more compelling — even for those who may have been tiring of Tinder before the series’ arrival.
The experiment worked. Tinder said millions of users tuned in to “Swipe Night,” and matches and conversations increased by 26% and 12%, respectively. With “Swipe Night,” it seemed, Tinder finally gave users something to talk about.
The returning second season of “Swipe Night” will again be directed by Karena Evans, who directed Coldplay’s music video “Everyday Life” and Drake’s “In My Feelings” and “God’s Plan.” This time, it will be written by Jessica Stickles (“Portlandia,” “Another Period”) and Julie Sharbutt (“3 Days”).
“Working on Swipe Night was such a fulfilling experience for me. I got to do something that had never been done before and innovate with storytelling to bring a generation of people together. I’m in search of projects that impact, shift or curate a culture and couldn’t be more excited to return for more,” said Evans, in a statement.
“Swipe Night’s” second season may see Tinder tweaking the formula a bit, and may even introduce new mechanics to keep it feeling fresh.
In addition to the Season 2 launching in the U.S., Match previously confirmed that 10 international markets across Europe and Asia will get “Swipe Night” this year. Tinder said today that Season 1 would be launching internationally on March 14th, but declined to say when those users would receive Season 2.
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Vimeo signaled last year its plans to move further into the social video creation and editing space with its acquisition of short-form video editor Magisto. Today, the company is unveiling the results of its work in the months following the deal’s close with the debut of Vimeo Create. The new app includes a set of video creation tools aimed at small businesses and marketers looking to tell their stories using social video, but who lack the resources, time or budget to invest in video production at the scale they need to compete.
With Vimeo Create, available on both the desktop and as an app, businesses choose from pre-made, professionally designed video templates that can be customized to meet their needs. More advanced users could opt to start a new video from scratch, as an alternative.

The app includes a library of stock content to add to videos, including millions of HD video clips, photos and commercially licensed music tracks available for no extra fee, Vimeo says. Businesses also can customize their videos by selecting the colors, fonts, layouts, logos, text captions and calls-to-action they want to use.
The app then leverages AI-powered technology to turn the clips, photos, music and text into a high-quality social video in minutes.
Vimeo Create also simplifies the process of designing videos for different social platforms, where aspect ratios (e.g. square, vertical, horizontal) and format requirements vary. After the video is finalized, users are able to publish across the web — including to Facebook, YouTube, Instagram, Twitter and LinkedIn — as a part of the Vimeo Create workflow.

The move into social video creation is part of Vimeo’s larger strategy of becoming a one-stop shop for companies and individuals who publish videos online. The company has long since abandoned its plans to be a YouTube competitor, instead seeing the potential in the other side of the video market. Today, Vimeo makes money by offering tools and services to video creators both large and small. It has launched tools for uploading and live streaming across social sites and updated its mobile app to include more features previously available only to desktop users, among other things.
Vimeo’s decision to prioritize social video resulted from its own research. The company found that only 22% of small business owners felt they were using enough video. The businesses complained that issues around time, cost and complexity were keeping them from going further. Nearly all (96%) of small business owners said they would create more video if all those friction points were removed.
The service was built using parts of Magisto’s backend and its AI, but the overall app, feature set, content, user interface and integration into Vimeo’s tools were built from the ground up, the company says.

The company hopes Vimeo Create will help it to grow its subscription revenue, as the service is offered as a part of Vimeo’s Pro, Business and Premium membership plans, instead of as a standalone paid or freemium app.
“Video is the most impactful medium we have today for human expression at scale, and businesses
need an online video strategy to reach their customers. But the research is clear: small business owners
and entrepreneurs don’t have the tools, time or budgets to make videos at the volume and quality
needed to compete,” said Vimeo CEO Anjali Sud, in a statement about the launch. “Vimeo Create levels the playing field. It’s a radically simple tool that shortens the distance from idea to execution, so more businesses can have a successful video strategy.”
Vimeo isn’t alone in addressing the social video needs of small businesses. Last fall, Facetune maker Lightricks launched a full suite of apps for small businesses to use for their social media marketing campaigns. There also are dozens of tools for video editing on the market, including those from incumbents, like Adobe and Apple, as well as from others like Magisto, Canva, PicsArt and many more that offer features craved by small business owners like templates, easy editing tools, access to stock content and support for one-click multi-platform publishing, among other things.
Vimeo first launched Vimeo Create into beta back in January, but today it’s available to all across web, iOS and Android.
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Despite the U.S. government’s concerns over TikTok, which most recently led to the U.S. Navy banning service members’ use of the app, TikTok had a stellar 2019 in terms of both downloads and revenue. According to new data from Sensor Tower, 44% of TikTok’s total 1.65 billion downloads to date, or 738+ million installs, took place in 2019 alone. And though TikTok is still just experimenting with different means of monetization, the app had its best year in terms of revenue, grossing $176.9 million in 2019 — or 71% of its all-time revenue of $247.6 million.
Apptopia had previously reported TikTok was generating $50 million per quarter.
The number of TikTok downloads in 2019 is up 13% from the 655 million installs the app saw in 2018, with the holiday quarter (Q4 2019) being TikTok’s best ever, with 219 million downloads, up 6% from TikTok’s previous best quarter, Q4 2018. TikTok was also the second-most downloaded (non-game) app worldwide across the Apple App Store and Google Play in 2019, according to Sensor Tower data.

However, App Annie’s recent “State of Mobile” report put it in fourth place, behind Messenger, Facebook and WhatsApp — not just behind WhatsApp, as Sensor Tower does.
Regardless, the increase in TikTok downloads in 2019 is largely tied to the app’s traction in India. Though the app was briefly banned in the country earlier in the year, that market still accounted for 44% (or 323 million) of 2019’s total downloads. That’s a 27% increase from 2018.
TikTok’s home country, China, is TikTok’s biggest revenue driver, with iOS consumer spend of $122.9 million, or 69% of the total and more than triple what U.S. users spent in the app ($36 million). The U.K. was the third-largest contributor in terms of revenue, with users spending $4.2 million in 2019.

These numbers, however, are minuscule in comparison with the billions upon billions earned by Facebook on an annual basis, or even the low-digit billions earned by smaller social apps like Twitter. To be fair, TikTok remains in an experimental phase with regards to revenue. In 2019, it ran a variety of ad formats, including brand takeovers, in-feed native video, hashtag challenges and lens filters. It even dabbled in social commerce.
Meanwhile, only a handful of creators have been able to earn money in live streams through tipping — another area that deserves to see expansion in the months ahead if TikTok aims to take on YouTube as a home for creator talent.
When it comes to monetization, TikTok is challenged because it doesn’t have as much personal information about its users, compared with a network like Facebook and its rich user profile data. That means advertisers can’t target ads based on user interests and demographics in the same way. Because of this, brands will sometimes forgo working with TikTok itself to deal directly with its influencer stars, instead.
What TikTok lacks in revenue, it makes up for in user engagement. According to App Annie, time spent in the app was up 210% year-over-year in 2019, to reach a total 68 billion hours. TikTok clearly has users’ attention, but now it will need to figure out how to capitalize on those eyeballs and actually make money.
Reached for comment, TikTok confirmed it doesn’t share its own stats on installs or revenue, so third-party estimates are the only way to track the app’s growth for now.
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The team at Wotch has created a new social video platform — but wait, don’t roll your eyes quite yet.
“Obviously, we’re very used to someone creating a new internet video-sharing platform,” said co-CEO Scott Willson. “It must be very irritating for everyone to hear that.”
And yet Willson and his co-founder/co-CEO James Sadler have attempted it anyway, and they’re competing today as part of the Startup Battlefield at Disrupt Berlin. They’re only 22 years old, but Sadler said they’ve been working together for the past few years, with past projects including the development of e-learning platforms.
They were inspired to create Wotch because of YouTube’s recent problems around issues like demonetization, where many YouTubers lost the ability to monetize their videos through advertising, and other controversies like an attempted overhaul of its verification system.
Willson said YouTube has been “leaving out creators in terms of communications,” and as the controversies grew, the pair thought, “there has to be a better way of doing this.”
The key, Sadler added, is giving video creators a bigger say in the process: “We’re very hands-on with these creators. We’re not just sending them an automated email.”
In fact, they’re giving creators an opportunity to buy equity in Wotch to get a stake in the company’s success. They’re also appointing a creator board that will be consulted on company policy.
Wotch creators will be able to make money by selling subscriptions, merchandise and ads — not the standard pre-roll or mid-roll ads (which Willson described as “irritants”), but instead partnerships where they incorporate brand products and messages in their videos.
Asked whether this might create the same tension between advertisers and creators that YouTube has been struggling with, Willson argued, “What it comes down to is correctly matching advertisers with creators.” Some advertisers don’t mind working with video-makers who are “pushing the boundaries” — they just need to know what they’re getting into.
Sadler also said that Wotch will be providing creators with more data about their viewers, like identifying their most loyal fans, their most engaged fans and their first “wotchers.”
And the site will take a different approach to content moderation, using technologies like video frame analysis to identify “risky” content, as well as relying more on community moderation. Sadler said it will be a “consensus” approach, rather than the “dictatorship” of other platforms.
“We’re rewarding users for helping to cleanse these platforms,” he added.
Wotch isn’t identifying any of the big creators who he says have signed on, but Sadler told me that the company is largely focused on emerging markets and has already recruited 25 of the top creators in Brazil (where YouTube has an enormous audience, to sometimes detrimental effect) and throughout South America. Those creators won’t be posting on Wotch alone, but they will be creating exclusive videos for the service.
Sadler said it’s those creators who will draw the viewers: “Consumers are loyal to the creators and not the platforms.” And once they’re drawn in, they’ll also experience “a more social platform — see the things your friends are ‘wotching,’ see the things that your favorite creators are ‘wotching.’”
The startup has raised funding from Dominic Smales, the CEO of influencer marketing company Gleam Futures; Bidstack co-founder Simon Mitchell; and Melody VR founder and COO Steve Hancock. Smales is also leading the creator board.
While a beta version of Wotch is already live, Sadler and Willson plan to launch a revamped version of the service early next year. You can get an early preview of the changes by using the promotional code “TECHCRUNCH.”
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Why are we all trapped in enterprise chat apps if we talk 6X faster than we type, and our brain processes visual info 60,000X faster than text? Thanks to Instagram, we’re not as camera-shy anymore. And everyone’s trying to remain in flow instead of being distracted by multi-tasking.
That’s why now is the time for Loom. It’s an enterprise collaboration video messaging service that lets you send quick clips of yourself so you can get your point across and get back to work. Talk through a problem, explain your solution, or narrate a screenshare. Some engineering hocus pocus sees videos start uploading before you finish recording so you can share instantly viewable links as soon as you’re done.
Loom video messaging on mobile
“What we felt was that more visual communication could be translated into the workplace and deliver disproportionate value” co-founder and CEO Joe Thomas tells me. He actually conducted our whole interview over Loom, responding to emailed questions with video clips.
Launched in 2016, Loom is finally hitting its growth spurt. It’s up from 1.1 million users and 18,000 companies in February to 1.8 million people at 50,000 businesses sharing 15 million minutes of Loom videos per month. Remote workers are especially keen on Loom since it gives them face-to-face time with colleagues without the annoyance of scheduling synchronous video calls. “80% of our professional power users had primarily said that they were communicating with people that they didn’t share office space with” Thomas notes.
A smart product, swift traction, and a shot at riding the consumerization of enterprise trend has secured Loom a $30 million Series B. The round that’s being announced later today was led by prestigious SAAS investor Sequoia and joined by Kleiner Perkins, Figma CEO Dylan Field, Front CEO Mathilde Collin, and Instagram co-founders Kevin Systrom and Mike Krieger.
“At Instagram, one of the biggest things we did was focus on extreme performance and extreme ease of use and that meant optimizing every screen, doing really creative things about when we started uploading, optimizing everything from video codec to networking” Krieger says. “Since then I feel like some products have managed to try to capture some of that but few as much as Loom did. When I first used Loom I turned to Kevin who was my Instagram co-founder and said, ‘oh my god, how did they do that? This feels impossibly fast.’”
Systrom concurs about the similarities, saying “I’m most excited because I see how they’re tackling the problem of visual communication in the same way that we tried to tackle that at Instagram.” Loom is looking to double-down there, potentially adding the ability to Like and follow videos from your favorite productivity gurus or sharpest co-workers.
Loom is also prepping some of its most requested features. The startup is launching an iOS app next month with Android coming the first half of 2020, improving its video editor with blurring for hiding your bad hair day and stitching to connect multiple takes. New branding options will help external sales pitches and presentations look right. What I’m most excited for is transcription, which is also slated for the first half of next year through a partnership with another provider, so you can skim or search a Loom. Sometimes even watching at 2X speed is too slow.
But the point of raising a massive $30 million Series B just a year after Loom’s $11 million Kleiner-led Series A is to nail the enterprise product and sales process. To date, Loom has focused on a bottom-up distribution strategy similar to Dropbox. It tries to get so many individual employees to use Loom that it becomes a team’s default collaboration software. Now it needs to grow up so it can offer the security and permissions features IT managers demand. Loom for teams is rolling out in beta access this year before officially launching in early 2020.

Loom’s bid to become essential to the enterprise, though, is its team video library. This will let employees organize their Looms into folders of a knowledge base so they can explain something once on camera, and everyone else can watch whenever they need to learn that skill. No more redundant one-off messages begging for a team’s best employees to stop and re-teach something. The Loom dashboard offers analytics on who’s actually watching your videos. And integration directly into popular enterprise software suites will let recipients watch without stopping what they’re doing.
To build out these features Loom has already grown to a headcount of 45, though co-founder Shahed Khan is stepping back from company. For new leadership, it’s hired away former head of web growth at Dropbox Nicole Obst, head of design for Slack Joshua Goldenberg, and VP of commercial product strategy for Intercom Matt Hodges.
Still, the elephants in the room remain Slack and Microsoft Teams. Right now, they’re mainly focused on text messaging with some additional screensharing and video chat integrations. They’re not building Loom-style asynchronous video messaging…yet. “We want to be clear about the fact that we don’t think we’re in competition with Slack or Microsoft Teams at all. We are a complementary tool to chat” Thomas insists. But given the similar productivity and communication ethos, those incumbents could certainly opt to compete. Slack already has 12 million daily users it could provide with video tools.
Loom co-founder and CEO Joe Thomas
Hodges, Loom’s head of marketing, tells me “I agree Slack and Microsoft could choose to get into this territory, but what’s the opportunity cost for them in doing so? It’s the classic build vs. buy vs. integrate argument.” Slack bought screensharing tool Screenhero, but partners with Zoom and Google for video chat. Loom will focus on being easily integratable so it can plug into would-be competitors. And Hodges notes that “Delivering asynchronous video recording and sharing at scale is non-trivial. Loom holds a patent on its streaming, transcoding, and storage technology, which has proven to provide a competitive advantage to this day.”
The tea leaves point to video invading more and more of our communication, so I expect rival startups and features to Loom will crop up. Vidyard and Wistia’s Soapbox are already pushing into the space. As long as it has the head start, Loom needs to move as fast as it can. “It’s really hard to maintain focus to deliver on the core product experience that we set out to deliver versus spreading ourselves too thin. And this is absolutely critical” Thomas tells me.
One thing that could set Loom apart? A commitment to financial fundamentals. “When you grow really fast, you can sometimes lose sight of what is the core reason for a business entity to exist, which is to become profitable. . . Even in a really bold market where cash can be cheap, we’re trying to keep profitability at the top of our minds.”
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Joshua Luber runs a sneaker empire valued at more than $1 billion, but he thinks they’re just now scratching the surface. The consumer marketplace recently expanded to include a fifth category (collectibles). “It’s an evolution of eBay that works similar to the stock market,” Luber states, “but at the core, it’s around the concept of true market price.”
We visited StockX’s 15,000-square-foot facility in Detroit to get a peek into their authentication process, and sat down with Luber to chat about humble beginnings, business expansion and sneakers.
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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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TikTok is looking to expand its influence by integrating with popular third-party video creation and editing apps. The company today announced a new TikTok for Developers program which will introduce tools for third-party app developers, including those that allow them to access TikTok’s creative offerings as well as push content from their apps to TikTok directly. The first of these tools is the new Share to TikTok SDK, which will let users edit videos in other apps then publish them from that app to TikTok.
One of the key launch partners for the new SDK is Adobe Premiere Rush, Adobe’s mobile app for video editing. With the new TikTok integration, Premiere Rush users can access video editing features like aspect ratio switching, transitions, color filters, time lapse and slo-mo, audio control and more, then share instantly to TikTok and other video destinations.
In addition to Adobe, the apps supporting the Share to TikTok SDK at launch also include looping video creator Plotaverse, AR app Fuse.it, gaming highlights recorder Medal, Momento GIF Maker, PicsArt and Enlight Videoleop.

For some of the smaller, single-purpose apps, being able to become a useful tool for the creator community can have an outsized impact on their growth and revenues. For example, Facetune’s maker Lightricks has built a profitable business across its suite of photo and video editing apps, including Enlight Videoleap, and has now raised a total of $205 million.
In addition to built-in sharing features, apps that integrate with the new TikTok SDK will also gain access to a wider selection of creative tools, says TikTok.
But the apps will benefit in another way, too — when creators share their videos, they’ll include the specified partner hashtag along with the content. This will help to give the app the ability to gain exposure among even more TikTok users.

“This new Share to TikTok feature enriches the content available on TikTok, diversifies the types of videos users can discover, and offers more editing choices for users to explore in addition to TikTok’s built-in creative tools,” explained TikTok, in an announcement. “Most importantly, it gives users multiple avenues to create new original, high-quality content using platforms with exciting creative tools,” the company said.
The TikTok for Developers program also includes tools to embed videos on the web, and offers developer documentation, demos and more. The program’s terms of service restricts developers from collecting users’ personal data or other nefarious activity, and threatens developers’ access could be removed if terms are violated.
The news follows reports that the U.S. government has opened a national security review of TikTok owner, Beijing-based ByteDance, specifically with regard to its $1 billion acquisition of U.S. app Musical.ly.
TikTok didn’t say what other plans its has in store for the developers program, only that it will continue to expand access to its own creative tools further across the wider app ecosystem.
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In what we understand was a “technical issue”, the Amazon Prime Video app disappeared from the Apple App Store, making it unavailable for new downloads or updates to users both on iOS and Apple TV. Twitter users began to tweet to Amazon for help about the problem on Friday morning, to which Amazon’s support channels have yet to reply.
[Update: we’ve learned the issue is technical in nature, but we have no further information as to the details of the problem. The app should be back shortly.]
[Update 2: Amazon has now offered a comment on the disappearance.
“Earlier today, there was a technical glitch that impacted the Prime Video app on iOS and tvOS devices,” an Amazon spokesperson said. “The issue has been resolved, and the Prime Video app is now once again available in the App Store.”
Earlier post continues below:
The app’s disappearance was earlier reported by AppleInsider, iMore and others.
The most likely reason for the app’s removal is a technical one — an issue with the update could have caused it to be temporarily pulled, perhaps.
What’s not likely is that Amazon Prime Video is gone for good.
The company just released an X-Ray upgrade to the app across platforms, including iOS, allowing users to get more information about what they’re streaming, including Amazon’s run of Thursday Night Football games.
Nor is it likely that Apple has for some reason booted out Prime Video, given the anti-competitive nature of such a move (Apple TV+ is soon to launch), at a time when the tech giants are under increased regulatory scrutiny.
Not just you – https://t.co/DTgGRZwsUc
— Jared DiPane (@jareddipane) October 4, 2019
Was ist da los? Amazon Prime Video wurde aus dem App Store entfernt? pic.twitter.com/w6urAq7X70
— Pino (@madphone) October 4, 2019
The amazon prime video app is gone from the App Store?
@PrimeVideo pic.twitter.com/wtiyIBCI3u
— Adrian (@emoflipsan) October 4, 2019
@PrimeVideo is it just me or is the Amazon Prime Video app gone from the Apple App Store??
— Gary Schafer (@GaryLSchafer) October 4, 2019
Does the Amazon Prime Video app not exist on the App Store anymore?
— Swapnanil Dhol (@SwapnanilDhol) October 4, 2019
Whaaat!!! Amazon Prime Video App removed pic.twitter.com/ayxtrGAHuz
— Jesús Cruz (@jesusmisanador) October 4, 2019
Amazon video is no longer in App Store @amazon @PrimeVideo pic.twitter.com/JuY3s9Ygs0
— Ahmad Najim Noori (@Ah_najeem_noori) October 4, 2019
The issue isn’t only impacting users in the U.S., nor is it limited to iPhone, as Apple TV is also affected.
According to data from app store intelligence firm Sensor Tower, the app was removed today in all regions except Australia, Guatemala, Hong Kong, Hungary, Israel, India, Kenya, Kuwait, Lithuania, Luxembourg, Madagascar and Saudi Arabia.
Amazon has not responded publicly to users asking for help.
TechCrunch has also reached out to Amazon for comment and will update when we hear back.
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