As consumer attention fragments across platforms and content types, it is increasingly important for both streaming subscription video services and podcast creators to maximise their content reach. For streaming subscription video on demand (SVOD) services, podcasts provide new opportunities to reach and retain audiences.
With gamers being mainstream, video streaming services and their content offerings can benefit by increasing focus on the preferences of gamers. Crucially, this enables subscription video on demand (SVOD) services to drive engagement, broaden reach and improve retention.
Group watching television with family and friends is being consigned to a bygone era. Algorithms are forcing entertainment consumers into silos through an endless stream of personally recommended content and the fallout is a relentless battle for audience engagement across a myriad of devices.
Podcasts are breaking out of traditional audio and entering the video space, as nearly a quarter of consumers now watch podcast videos monthly. Visual elements for podcasts are becoming a crucial tool to reach new audiences and engage current listeners.
The audiobook market is at an important stage of its evolution. Similar to podcasts, the niche format is trying to grow amid heightened competition for consumers’ time and attention, while the looming recession puts subscriptions growth and retention under pressure.
Audience engagement with subscription video on demand (SVOD) services is sliding, with multi-tasking on social media often relegating shows to background viewing. Social media is the threat, but also the catalyst for a radical recalibration of the SVOD viewing experience that will help these services claw back what is lost.
The role of film in popular culture and the evolution of video streaming has reached an inflection point. After the near death of the box office in 2020, and the subsequent shattering of the box office window by studios desperate to generate returns on pre-Covid investments, film is once again at an inflection point.
The Covid-19 entertainment boom is over; we are now in a highly competitive attention recession characterised largely by the attention inflation driven from accelerating rates of multitasking. This is compounded by serious global events and a cost-of-living crisis which will reduce the money audiences have available to spend on digital entertainmen...
Audio platforms traditionally monetise through advertising and, to a lesser degree, listener subscriptions. However, with the rise of the creator economy and more creators entering the podcast space, platforms must bulk up their offerings for creator monetisation as well.
With the attention recession in full swing following the lockdown boom, video isalready feeling the pinch as evidenced by Netflix’s declining subscriber count.The mainstreaming of subscription video on demand (SVOD) pulled TV into the digital entertainment sphere, placing it at risk of further disruption from the attentionrecession.
Weekly active user (WAU) penetration for the top streaming services is now slowing with quarter-on-quarter growth effectively flat for the leading subscription video on demand (SVOD) services. Peak attention is now clearly here for video. The looming attention recession, which is already impacting the wider digital entertainment landscape, will exa...
Now that video streaming consumer activity is mainstream (Netflix WAU is currently at 59%), the challenge is for video to maintain its dominance over competing media formats. At the heart of all this is surfacing relevant content – an area where TV has traditionally dominated.
The D2C big bang moment of 2019/2020 opened up a new offensive front for media majors as they competed with the communications and tech majors for streaming audience market share, which was previously lost to the SVOD insurgents. Pureplay media players responded via defensive consolidation and / or selling themselves to more motivated competitors.
The effect of streaming on entertainment is not new, but as we move into the era of mainstream vaccinations, the shifts in streaming-driven consumer behaviour over the last year and a half will drive fundamental changes. From the rise of virtual events to the fall of the box office opening weekend, underpinned by the swift commodification of conten...
Rampant attention competition has driven changes in entertainment consumption itself, exacerbated by the last year’s attention boom. Quality of attention and quantity of attention are increasingly differentiated, making adjacent behaviours more valuable than ever to track sentiment and consumer expression.
This report presents the key figures, trends and drivers of MIDiA’s video streaming forecast model. The figures presented in this report are in billions of US dollars unless otherwise stated. An Excel file posted alongside this report provides complete country-level data, as well as a detailed methodology statement.
Virtual concerts went from zero to a hundred at an unprecedented rate during the pandemic-shaped 2020, and the momentum carried through to 2021. But if lockdown years are like dog years, then so too the evolution of the current virtual event marketplace has been concertinaed.
2020 brought video streaming into the mainstream, resulting in an aging consumer base as later adopters embraced the digital-first behaviour. With binge viewing typically occurring at the start of on-demand familiarisation, these new streaming subscribers are at risk of succumbing to accelerated churn rates, as savvy switching is likely to follow.
Digital-first access has shaped mainstream consumption, but for digital natives, it has also shaped their core behaviours. Music consumption is now fragmented across artists, becoming a personalised, anytime anywhere activity – making the value exchange more niche and personal.
The US market is starting to see initial signs of fatigue as the D2C disruptors begin to reduce monthly user engagement among the three dominant incumbent subscription video on demand services. Netflix, Amazon Prime Video and Hulu all saw modest dips in weekly active use in Q4 2020.
