As we start 2020, the media and entertainment sectors are in flux. New technologies are enabling new types of content, streaming platforms in multiple content categories are spending billions in their fight for market share and the interplay between social platforms and media is a central topic of global political debate (to put it lightly).
As TechCrunch’s media columnist, I spoke to hundreds of entrepreneurs and executives in North America and Europe last year about the shifts underway across everything from vertically-oriented video series to physics engines in games to music royalty payments. Looking toward the year ahead, here are some of the high-level changes I expect we will see in media in 2020, broken into seven categories: film & TV, gaming, visual & audio effects, social media, music, podcasts and publishing.
Film and TV
In film and television, the battle to compete with Netflix continues with more robust competition than last year. In the U.S., Disney is off to a momentous start with 10 million Disney+ subscribers upon its launch in November and some predicting it will hit 25 million by March (including those on free trials or receiving it for free via Disney’s partnership with Verizon). Bundled with its two other streaming properties, Hulu and ESPN+, Disney+ puts Disney alongside Amazon and Netflix as the Big Three.
Consumers will only pay for so many subscriptions, often one, two, or all of the Big Three (since Amazon Prime Video is included with the broader Prime membership) then a smaller service that best aligns with their personal taste and favorite show of the moment.
AT&T’s HBOMax launches in May with a $14.99/month price tag and is unlikely to break into the echelon of the Big Three, but could be a formidable second tier competitor. Alongside it will be Apple TV+. With a $4.99/month subscription, Apple’s service only includes a small number of original productions, an HBO strategy as HBO gets bundled into a larger library. CBS All Access, Showtime, and NBCUniversal’s upcoming (in April) Peacock fall in this camp as well.
Across Europe, regional media conglomerates will find success in expanding local SVOD and AVOD competitors to Netflix that launched last year — or are set to launch in the next few weeks — like BritBox in the UK, Joyn in Germany and Salto in France. Netflix’s growth in coming from outside the U.S. now so its priority is buying more international shows that will compel new demographics to subscribe.
The most interesting new development in 2020 though will be the April launch of Quibi, the $4.99/month service offering premium shows shot for mobile-first viewing that has already secured $1 billion in funding commitments and $150 million in advertising revenue. Quibi shows will be bite-size in length (less than 15 minutes) and vertically-oriented. The company has poured hundreds of millions of dollars into commissioning established names to create dozens of them. Steven Spielberg and Guillermo del Toro each have Quibi programs and NBC and CBS are creating news shows. The terms it is offering are enticing.
Quibi, which plans to release 125 pieces of content (i.e. episodes) per week and spend $470 million on marketing this year, is an all-or-nothing bet with little room to iterate if it doesn’t get it right the first time; it needs hit shows that break into mainstream pop culture to survive. Billionaire founders Jeffrey Katzenberg and Meg Whitman have set expectations sky-high for the launch; expect the press to slam it in April for failing to meet those expectations and for the platform to redeem itself as a few of its shows gain traction in the months that follow.
Meanwhile, live sports remains the last hope of broadcast TV networks as all other shows go to streaming. Consumers still value watching sports in real-time. Streaming services are coming for live sports too, however, and will make progress toward that goal in 2020. Three weeks ago, DAZN secured the rights to the 2021/22 season of Germany’s Champions League, beating out broadcaster Sky which has shown the matches for the last 20 years. Amazon and YouTube continue to explore bids for sports rights while Facebook and Twitter are stepping back from their efforts. YouTube’s “YouTube TV” and Disney’s “Hulu with Live TV” will cause more consumers to cancel cable TV subscriptions in 2020 and go streaming-only.
The winners in the film & TV sector right now are top production companies. The war for streaming video dominance driving several of the world’s wealthiest companies (and individuals) to pour tens of billions of dollars into content. Large corporations own the distribution platforms here; the only “startups” to enter with strength — DAZN and Quibi — have been launched by billionaires and started with billion-dollar spending commitments. The entrepreneurial opportunity is on the content creation side — with producers creating shows not with software developers creating platforms.
The gaming market is predicted to grow nearly 9% year-over-year from $152 billion globally in 2019 to $165 billion in 2020, according to research firm Newzoo, with more than two billion people playing games each year. Gaming is now widespread across all demographic groups. Casual mobile games are responsible for the largest portion of this (and 45% of industry revenue) but PC gaming continues to grow (+4% last year) and console gaming was the fastest growing category last year (+13%).
The big things to watch in gaming this year: cross-platform play, greater focus on social interaction in virtual worlds and the expansion of cloud gaming subscriptions.
Fortnite enticed consumers with the benefits of a cross-platform game that allows players to move between PC, mobile and console and it is setting expectations that other games do the same. Last October we saw the Call of Duty franchise come to mobile and reach a record 100 million downloads in its first week. This trend will continue and it will spread the free-to-play business model that is the norm in mobile games to many PC and console franchises in the process.
Gaming is moving to the social forefront. Many people are turning to massively multiplayer online games (MMOs) like Fortnite and PUBG to socialize, with gameplay as a secondary interest. Games are virtual worlds where players socialize, build things, and own assets much like in the real world. That results in an increasingly fluid interplay between socializing in games and in physical life, much as socializing in the virtual realms of social apps like Instagram or Twitter is now viewed as part of “real world” life.
Expect VCs to bet big on the thesis that “games are the new social networks” in 2020. Large investment firms that a year ago wrote off the category of gaming as “content bets” not fit for VC are now actively hunting for deals.
On this point, there are several startups (like Klang Games, Darewise Entertainment, Singularity 6 and Clockwork Labs) that raised millions in VC funding to create open world games that will launch (in beta at least) in 2020. These are virtual worlds where all players exist in the same instance of the world rather than being capped at 100 or so players per instance. Their visions center of digital realms where people will contribute to in-game economies, create friendships and ultimately earn income just like their “real-world” lives. Think next-gen Second Life. Expect them to take time to seed their worlds with early adopters in 2020 before any of them gain mainstream traction in 2021.
Few are as excited about social interaction in games as Facebook, it seems. Eager to own critical turf in the next paradigm shift of social media, Facebook will accelerate its gaming push this year. In late 2019, it acquired Madrid-based PlayGiga — which was working on cloud gaming and 5G technology — and the studio behind the hit VR game Beat Saber. It also secured exclusive rights to the VR versions of popular games like Ubisoft’s “Assassin’s Creed” and “Splinter Cell” for Oculus. Horizon, its virtual world for social interaction within VR, is expected to launch this year as well.
Facebook is betting on AR/VR as the paradigm shift in consumer computing that will replace mobile; it is pouring billions into its efforts to own the hardware and infrastructure pieces which are several years of R&D away from primetime. In the meantime, the consumer shift to social interaction in virtual worlds is occurring in established formats — mobile, PC, and console — so it will work to build the bridge for consumers from that to the future.
Lastly, cloud gaming was one of last year’s biggest headlines with the launch of Google Stadia and you should expect it to be again this year. By moving games to cloud hosting, consumers can play the highest quality games from lower quality devices, greatly expanding the market of potential players. By bundling many such games into a subscription offering, Google and others hope to entice consumers to try many more games.
As TechCrunch’s Lucas Matney argued, however, cloud gaming is likely a feature for existing subscription gaming platforms — namely Playstation Now and Xbox Game Pass — more so than the basis for a new platform to differentiate. The minor latency inherent in playing a cloud-hosted game makes it unattractive to hardcore gamers (who would rather download the game). Next to Sony and Microsoft’s offerings, Stadia’s limited game selection fails to stand out. The competition will only heat up this year with the entry of Amazon. Google needs to launch the Stadia integration with YouTube and the Share State feature that it promoted in its Stadia announcement to really drive consumer interest.
Visual and audio effects
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