Reports: Facebook

Browse all of our reports, featuring our analysts' expert insights and analysis of audience segmentation, emerging trends and technologies, value chains, market shares, predictions and more – backed by our proprietary survey data and bespoke models & forecasts. Become a subscriber to get new ones every month, or just pick one to get started.

MIDiA’s 2025 predictions
It’s social’s stage now

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Mark Mulligan, Karol Severin, Hanna Kahlert, Tatiana Cirisano, Ben Woods, Rutger Rosenborg, Rhys Elliott and Olivia Jones
Apple
Spotify
YouTube
The creator economy reshaped entertainment in the first half of the 2020s and social wasthe big winner, now positioned at the centre of the entertainment economy. In 2025 wewill see the second-order effects begin to play out, set against the backdrop of attentionsaturation, content commodification, and increased focus on profit.
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MIDiA Research 2024-2031 global social forecasts
New frontiers and strong growth ahead

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Hanna Kahlert and Mark Qi
YouTube
Facebook
Instagram
More than ever, social platforms are the de facto way that consumers interact not only with entertainment but with the internet itself. As internet access expands in emerging markets and social platforms continue to eat up digital entertainment consumption in developed ones, further growth is inevitable because the market has: The ability to grow user numbers The ability to grow time spent by those users The ability to make more money from that time spent, both from ads and increasingly from new subscription offerings Social as it was in the 2000s and 2010s has matured.
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Not all social entertainment behaviour is created equal
Audience deep dive

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Hanna Kahlert
Spotify
YouTube
Xbox
Social is an integral part of entertainment consumption This report presents key data and insights about the advanced overlaps between social behaviour (both on digital platforms and in real life) and entertainment consumption. It looks at data from nine markets, featuring segments of social platform users and the audiences of different forms of entertainment, as well as fandom behaviours and monetisation opportunities.
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Profiling Steam users
A valuable gamer niche

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Karol Severin
YouTube
Amazon
Netflix
For two decades now, Steam has been one of the go-to digital game distributors, particularly for computer gamers and developers. Yet, its weekly active audience does not quite reflect a fully representative sample of computer gamers. Rather, Steam’s weekly active users (WAUs) are a specific niche of gamers, characterised by their demographics, genre preferences and wider gamer behaviours.
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Social 2.0
Social media’s survival of the fittest, and how marketers fit in

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Ashleigh Millar
YouTube
Netflix
Facebook
The history of social media has long been defined by continual evolution and iteration, but now shifts across the value chain are becoming more substantive, heralding a new era. Social platforms themselves are changing, and so too are the attitudes, expectations, and behaviours of their users, with audiences’ appetites for carefully curated, heavily edited posts turning sour, and their thirst for authentic, participatory content growing stronger.
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Radio audiences
A window of opportunity

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Mark Mulligan, Keith Jopling, Tatiana Cirisano and Annie Langston
Streaming Music
Spotify
Radio
Streaming claimed radio’s younger, music-focused audiences while podcasts are now beginning to do the same for older, spoken-word audiences. However, it is not yet determined that the impact needs to be as disruptive for radio companies. With radio audience declines slowing, and even experiencing a modest rebound, a window of opportunity exists for radio companies to become masters of their own destinies.
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Re-creating the creator economy

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Mark Mulligan, Tim Mulligan, Karol Severin, Hanna Kahlert, Srishti Das, Kriss Thakrar, Ashleigh Millar, Tatiana Cirisano, Annie Langston and Richard Broadhurst
Apple
Spotify
YouTube
Streaming first democratised the means of consumption, then distribution, and now production. Though the promise of the long tail may not have materialised quite as expected, long-tail and mid-tail creators are now a central component of the digital-entertainment economy.
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