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REUSE OF SOURCE: Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television

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REUSE OF SOURCE: Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television

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~Netflix founded in 2007 (Wayne, 2022).

(source shown later)

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Source: How the Streaming Wars Will Alter the Media Landscape

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Source: How the Streaming Wars Will Alter the Media Landscape

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~Disney+ launched in 2019, took on Netflix

~Netflix built their business throughout the 2010's by the media industry giving them all sorts of content (Nathanson, 2022).

Nathanson, M. (2022, September 14). How the Streaming Wars Will Alter the Media Landscape. Yale Insights. https://insights.som.yale.edu/insights/how-the-streaming-wars-will-alter-the-media-landscape

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How the Streaming Wars Will Alter the Media Landscape

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The scramble for subscribers has been a boon for consumers. But changes are coming as investors demand returns. We talked to analyst Michael Nathanson ’90 about what will be left when the dust settles.

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SOURCE: Factors Affecting Online Streaming Subscriptions

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SOURCE: Factors Affecting Online Streaming Subscriptions

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~Explains the ease of use and adoption of online streaming services.

~Discuss the rising competition that Cable TV faces from online streaming services.

~"Cable companies that wish to compete with online

streaming services must keep prices competitive" (Lee et al., 2018, p. 21).

~"Ease of use, additional purchases, media options and social trends have an impact on the decision to adopt cable TV providers and online streaming" (Lee et al., 2018, p. 21).

Lee, C. C., Nagpal, P., Ruane, S. G., & Lim, H. S. (2018). Factors affecting online streaming subscriptions. Communications of the IIMA, 16(1). https://doi.org/10.58729/1941-6687.1394

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REUSING OF SOURCE: How the Streaming Wars Will Alter the Media Landscape

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REUSING OF SOURCE: How the Streaming Wars Will Alter the Media Landscape

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~Subscriber growth projected in 2020 and 2021 due to the Coronavirus pandemic keeping everyone at home (Nathanson, 2022).

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Source: Digital subscribers: Between freedom and constraint

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Source: Digital subscribers: Between freedom and constraint

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~Shows how subscription services can increase flexibility and freedom in consumption of media, but can also be restrictive

~Analyzes users of Netflix and Spotify in Europe

~Services can customize media consumption and tell what their preferences are, but they can also be restrictive by locking content, forcing the users to fork over more cash, and also by locking some access in certain situations. (Echauri, 2023).

~Shows the advancement of subscription-services, how they've gotten smarter over the years, hitting what seems to be a peak in this decade.

Echauri, G. (2023). Digital subscribers: Between freedom and constraint. Media, Culture & Society, 45(6), 1175-1191. https://doi.org/10.1177/01634437231159554

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Source: The streaming network: Conceptualizing distribution economy, technology, and power in streaming media services

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Source: The streaming network: Conceptualizing distribution economy, technology, and power in streaming media services

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~"The major services all offer users personalized recommendations to help steer them through vast catalogs, though some music services also offer more explicit forms of expert curation. These new services offer considerably greater choice and convenience for users, with ‘always on’ access to media facilitated across a range of different devices." (Colbjørnsen, 2021)

~Explains customization and "freedom" associated with the modern subscription services.

~Works as a supplement to the "Digital subscribers: Between freedom and constraint" source

Colbjørnsen, T. (2021). The streaming network: Conceptualizing distribution economy, technology, and power in streaming media services. Convergence, 27(5), 1264-1287. https://doi.org/10.1177/1354856520966911

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Source: Why There’s No Such Thing As Free TV

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Source: Why There’s No Such Thing As Free TV

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~ Discusses the the switch of public, or ad-supported television, from being a non-profit to a for profit, a major shift from how it was in the 1950's.

~Television businesses use fee-based services to gain revenue (Snider, 2002).

~Free TV uses government subsidies, ad revenue, and a move to fee-based services to gain profit; worth at least 100 billion (Snider, 2002).

~Source also discusses the Cable Act of 1992 and the Telecom Act, which helped in preserving Free TV.

Snider, J. H. (2002). Why There’s No Such Thing As Free TV. Consumers’ Research Magazine, 85(11), 19.

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Source: Games-as-a-service: Conflicted identities on the new front-line of video game development.

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Source: Games-as-a-service: Conflicted identities on the new front-line of video game development.

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~Discusses the growth of having Games-as-a-service, meaning games with continual development.

~Rise of video game culture & DLC

~Games-as-a-service can generate more stable revenue that is also recurring for the video game industry.

~Game developers of those services to have a divergence in their identity, analyzing their differences in relationships, performance criteria, and traits (Dubois & Weststar, 2022).

Dubois, L.-E., & Weststar, J. (2022). Games-as-a-service: Conflicted identities on the new front-line of video game development. New Media & Society, 24(10), 2332-2353. https://doi.org/10.1177/1461444821995815

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SOURCE: Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television

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SOURCE: Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television

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~Streaming market is "no longer exclusively populated by services using subscriber-supported economic models" (Wayne, 2022, p. 13), with free ad-supported services like Freevee or Tubi coming in the mix.

~Shows how there is increased competition on popular streaming services (subscription-video-on-demand-services, or SVODs), (including HBO and Showtime).

Wayne, M. L. (2022). Netflix audience data, streaming industry discourse, and the emerging realities of ‘popular’ television. Media, Culture & Society, 44(2), 193-209. https://doi.org/10.1177/01634437211022723

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REUSING OF SOURCE: How the Streaming Wars Will Alter the Media Landscape

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REUSING OF SOURCE: How the Streaming Wars Will Alter the Media Landscape

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~"Today 80 million households pay for TV, and we expect that to drop to 60 million in a few years" (Nathanson, 2022, para 5).

~"Overall consumer spending on entertainment is now going to grow more slowly, but there’ll be share shifts within that allocation of spend" (Nathanson, 2022, para 28.).

~Less and less people will pay for cable TV and move more towards streaming services.

~Other types of entertainment services will get hurt, (especially physical media) such as physical video games, DVDs, and less theater-watching- kind of like how CDs died. (Nathanson, 2022).

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SOURCE: The Extended Reach of Game Engine Companies: How Companies Like Epic Games and Unity Technologies Provide Platforms for Extended Reality Applications and the Metaverse

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SOURCE: The Extended Reach of Game Engine Companies: How Companies Like Epic Games and Unity Technologies Provide Platforms for Extended Reality Applications and the Metaverse

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~Shows type of evolution of subscription-based model in video games, how content is open to all, but some player access is locked, having them pay and gain model via transactions.

~Netflix CEO Peter Hastings calls Fortnite Netflix's "strongest competitor" than any other streaming service, with Fortnite being "top free-to-play game" in the West (Jungherr & Schlarb, 2022, p. 6).

~Allows users to "engage with multiple media experiences more broadly" (Jungherr & Schlarb, 2022, p. 6).

~Attracts players firsthand by being free-to-play, then introducing content to be unlocked by transactions.

~Shows how subscription and pay services are evolving in the entertainment landscape.

Jungherr, A., & Schlarb, D. B. (2022). The Extended Reach of Game Engine Companies: How Companies Like Epic Games and Unity Technologies Provide Platforms for Extended Reality Applications and the Metaverse. Social Media + Society, 8(2). https://doi.org/10.1177/20563051221107641

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Can go something like:

~Over the years, the way Western society has consumed entertainment has evolved drastically.

~From tabletop games to live sports matches to movie theaters to video games, humanity's longing for escapism has never died down.

~One popular form of entertainment that seems to be dominating across the globe, and in Western societies especially, is that of subscription services.

~These services have risen dramatically in popularity, and for better or worse, seem to be taking over the entertainment industry.

~It's important to see the trends of how they've gotten to such a tremendous status, and what their rise might have in store in the future of the Western entertainment industry.

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Source: Music streaming services: understanding the drivers of customer purchase and intention to recommend

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Source: Music streaming services: understanding the drivers of customer purchase and intention to recommend

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~Discusses the rise as "music-as-a-service"

~Physical music began to suffer after the rise of new technology in the digital age "from 2001 onwards" (Barata & Coelho, 2021, p. 1).

~Streaming is considered to be the more preferred way of music listening due to the "mass use of smartphones" (Barata & Coelho, 2021, p. 2).

Barata, M. L., & Coelho, P. S. (2021). Music streaming services: understanding the drivers of customer purchase and intention to recommend. Heliyon, 7(8), e07783. https://doi.org/10.1016/j.heliyon.2021.e07783

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REUSING OF SOURCE: Music streaming services: understanding the drivers of customer purchase and intention to recommend

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REUSING OF SOURCE: Music streaming services: understanding the drivers of customer purchase and intention to recommend

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~Streaming is considered to be the more preferred way of music listening due to the "mass use of smartphones" (Barata & Coelho, 2021, p. 1).

~Spotify, the most popular streaming service across the globe, using "ad-supported services" (Barata & Coelho, 2021, p. 2).

~Shows how profits are made with the subscription service model, through advertisements, and "the premium model" (Barata & Coelho, 2021, p. 2), a model that has more features for a higher price.

~Growth of users of the premium model resulted in a growth of profits for Spotify (percentages on the source itself).

~Shows how profits are the dominating cause for the rise of subscription-based services.

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Source: DFC Intelligence Believes Gaming Subscription Services will Push PC/Console Gaming to Record Year

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Source: DFC Intelligence Believes Gaming Subscription Services will Push PC/Console Gaming to Record Year

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"The console game business (consoles from Microsoft (XBOX), Sony (PlayStation), and Nintendo (Switch)), is expected to see a third of software/service revenue going to Microsoft, Sony, and Nintendo for their game subscription services" (Lopes, 2022, para. 4).

Lopez, U. (2022, June 29). DFC Intelligence Believes Gaming Subscription Services will Push PC/Console Gaming to Record Year. Wccftech. https://wccftech.com/dfc-intelligence-believes-gaming-subscription-services-will-push-pc-console-gaming-to-record-year/

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DFC Intelligence released information from its 2022 market forecast today, saying it expects the PC and console software market to post a record year in 2022, driven by growth in subscription services.

For 2022, the market analysis firm expects software on console and PC to be $72 billion, up 5% from last year's mark, which was already a record.

"A major driver of this growth is not new releases, but increasing usage of subscription services from Microsoft, Sony, Nintendo, and others," DFC said.

"The console game business is expected to see a third of software/service revenue going to Microsoft, Sony, and Nintendo for their game subscription services, Game Pass, Switch Online, and the newly revamped PlayStation Plus."

While DFC mentioned hardware shortages and difficult comparisons against the pandemic-boosted 2020 and 2021 results, the firm is still bullish on the console and PC games industry.

"Even as prices rise and the possibility of recession lurks, the core game industry should continue to grow," the firm said.

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Subscriptions will push console/PC to a record year, says DFC

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DFC Intelligence released information from its 2022 market forecast today, saying it expects the PC and console softwar...

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Source: The Distribution of Pay Television in the United States: Let an Unshackled Marketplace Decide.

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Source: The Distribution of Pay Television in the United States: Let an Unshackled Marketplace Decide.

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~Discusses the evolution of pay television.

~Discusses the Sherman Act of 1890 as well, which banned monopolies.

~"Locally-licensed cable television providers controlled 95% of the pay television market" (Grimes, 2013, p. 4).

~Cable television market begins to become more diverse by the late 1990's to the early 2000s, henceforth meaning that the early cable television monopolies are no longer, and competition is increasing.

~Competition from NBC Universal (Comcast), Viacom Inc., Walt Disney Company, Fox Entertainment Group (pre-Disney acquisition), and Time Warner Inc (pay television distributers).

Grimes, W. S. (2013). The Distribution of Pay Television in the United States: Let an Unshackled Marketplace Decide. Journal of International Media & Entertainment Law, 5(1), 1–47.