Reports: Entertainment and Fandom

The data in this report is taken from MIDiA’s Q1 2021 consumer survey. The full data from this survey and all the preceding quarterly surveys are available, along with data visualisation tools and dynamic segmentation, on MIDiA Fuse. The countries covered in this report are US, Canada, Australia, UK, Germany, France, Sweden, Brazil, South Korea.

How does AVOD unlock the mainstream consumer webinar presentation.

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.

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This slide deck presents consumer demand for video subscription services and streaming consumption, with detail for streaming services and video consumption preferences. The data is pulled from MIDiA’s Q1 2021 Consumer Survey fielded in the US, UK, Australia, Canada, Germany, France, Sweden, South Korea, and Brazil.

As games subscriptions grow, understanding gamers through the lens of their subscriptions becomes crucial. Monitoring the growth of games subscription services and the behavioural makeup of segments that emerge with them is becoming increasingly important for developers and publishers alike – be it to make decisions around platform prioritisation and planning, or localising and laser-targeting marketing campaigns.

2020 was a big year for podcasts, with increased investment, M&A activity and industry moves. Audiences grew too, but still lag behind in hype and expectation, and a portion of this growth has come at the direct expense of music streaming and radio.

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.

Games revenue growth is about to slow, with in-game spending the sector set to retain most momentum. Simultaneously, other entertainment sectors will actively seek to monetise digital fandom. Future games revenue will need to tap opportunities beyond games-related spending alone, and the wider entertainment demands of consumers.

Introduction This slide deck presents sports fans consumer snapshot covering video services, live-TV sports viewing, sports highlights viewing, free live digital sports viewing, device viewing, sports betting, fantasy sports penetration, TV genre preferences and sports type preferences.

Beyond gaming to cross-entertainment partnerships webinar slides - 22-04-2021

Future-proofing growth and curtailing subscriber churn post pandemic webinar slides.

In today’s music business, the consumer boom is rapidly leading to a creator bust. For the music industry to untangle itself from this dysfunctional loop, it needs to find new ways of monetizing fandom, not simply relying on consumption. Artists need new ways to connect and transact more productively with their immediate fan bases.

COVID-19 has expedited the need for rights holders and teams to generate digital engagement beyond the pure play live broadcast. Games and esports became big attention economy winners during the early stages of the pandemic and first lockdown. Rights holders desperate to maintain connectivity with fans looked to esports to drive engagement and maintain relevance.

This slide deck presents consumer demand for video subscription services and streaming consumption, with detail for streaming services and video consumption preferences. The data is pulled from MIDiA’s Q4 2020 Consumer Survey fielded in the US, UK, Australia, Canada, Germany, France, Sweden, South Korea, and Brazil.

The second iteration of this project is available to download here . Be The Change: Women Making Music Key insights Gendered expectations have skewed recognition and reward in the music industry: of 401 women creators around the world, 81% think that it is harder for female artists to get recognition than male artists Linked to this is the fact that there are not as many female role models for independent creators (81% agree, 49% ‘agree strongly’) Almost two-thirds of female creators identified sexual harassment or objectification as a key challenge, making it by far the most widely-cited problem Sexualisation and objectification are a consequence (or symptom) of unbalanced power dynamics, as shown by the next ‘big three challenges’: ageism (identified by 38%), lack of access to male-dominated industry resources (36%) and lower pay (27%) These major challenges are symptomatic of deeper issues of systemic male dominance permeating industry attitudes and behaviours; over 90% of our respondents said that they had experienced unconscious bias – nearly half of them frequently Music composition, production and sound has long been connected primarily with men, so it is no surprise that the majority of female creators (63%) feel excluded from the composition and production, which makes this aspect of music creation highly ‘genderized’ Although the overall representation of women in society has increased over the past few decades, 84% of women still feel that there exists a perception that women are expected to take on the primary role of parenting duties.

In the attention economy, entertainment consumption is intertwined and competition straddles formats and genres. The same applies to fandom. Entertainment fans are fans of not just multiple subgenres within one entertainment category, but instead across multiple entertainment formats.

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.

OTT Distribution and Partnerships A MIDiA Research Presentation for StreamTV Growth Summit 2021

2020 was a year like no other. With large swathes of the population confined to their homes for portions of the year, audiences had more time on their hands and more money in their pockets. These conditions created a boom in entertainment consumption, throwing up a mixture of intuitive trends and unexpected winners.