From Stretched to Strengthened: Media and Entertainment industry highlights

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Media and Entertainment CMOs are striving to adapt to a culture of increasingly individualized consumer content experiences. How are chief marketing officers (CMOs) helping their enterprises cope with the fundamental shifts transforming business and the world? To find out, we conducted 1,734 face-to-face interviews with CMOs in 64 countries, with 105 of those CMOs representing the Media and Entertainment industry.

Spotlight

Qmusic

Since 2005 Qmusic can be received in the Netherlands on 100.4 and 100.7 FM in the ether. Q wants to bring pleasure, energy and a good feeling into the life of the listener every day. Every day, 365 days a year, we focus on the listener. We love to surprise, entertain and let listeners enjoy. As a result, in 10 years Qmusic has become the 3rd radio station in the Netherlands in the most important target groups. Every week an average of 2.5 million different listeners tune in to Qmusic and there is a strong desire to grow even bigger.

OTHER ARTICLES
MEDIA AND BROADCASTING

The productisation of music rights

Article | June 4, 2021

News that New York-based Pershing Square Tontine Holdings is planning to acquire 10% of UMGis the latest in a wave of financial transactions in the music rights space. Alongside this, Believe’s impending IPO has the potential to be one of the biggest things to happen to the independent music sector in some time, and comes as part of a wave of IPOs (e.g.WMG,UMG), SPACs (e.g.Anghami,Reservoir) and no end of catalogue funds and acquisition vehicles. This trend, with good cause, has been referred to as the ‘financialisation of music’ but that only captures part of what is at play here. This is more than simply an influx of capital and debt; financial institutions are now becoming part of the plumbing of the music business, and in turn they are changing the definition of what constitutes success. This shift in objectives and desired outcomes has the potential to rebalance how the music industry operates.

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The Quest Is The Second Generation Of VR. You Charge It Up, Stick It On And It’s Great

Article | April 11, 2020

Ever since the adoption of VR gaming to the gaming market, it sure has seen upheavals—disruption by significant players in the industry like PSVR, Rift, and the Vive. PSVR has been the best-selling VR headset ever since its launch, selling over 5 million units on December 31st, 2020. While these numbers portray PSVR as successful, its hardware is lacking behind, and still, no sign of upgrades has been hinted by Sony. Speaking of which, a lot of gamers have long been waiting for a hardware upgrade or a hardware sequel—PSVR 2—from Sony, but very little or nothing has been said on this matter.

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MEDIA AND BROADCASTING

Games video creators can help attract new audiences to esports, if rights holders empower them to

Article | June 14, 2021

Those who have been following MIDiA’s games coverage for a while will have seen our posts about the growth problem of esports and suggestions around putting focus on the entertainment angle, rather than just on the sports angle, in order to most effectively capitalise on the opportunity. We have known for a while that esports viewers are only a subset of the broader games-related video viewing audience.We also know that esports audiences enjoy live entertainment in general, more so than many other entertainment consumer segments. MIDiA’s Q1 2021 consumer survey enabled us to dive deeper into how this opportunity can be approached. As a part of our upcoming Esports Viewer Dossier 2021 update, we have looked at the esports viewers, in comparison to consumers who say they watch games-related videos but not esports. The former represents the current state of play, while the latter represents esports’ potential audience growth opportunity.

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MEDIA AND BROADCASTING

UGC vs. Premium: Is the video valuation bubble big enough to burst?

Article | May 21, 2021

The market disconnect between the proliferation of independent content creators and the consolidation of brand IP into the hands of ever-fewer major players is growing increasingly stark. On the one hand, independent artists are the fastest-growing sector of the music market. User-generated content (UGC) has proved a huge success during lockdown for the likes of TikTok and Roblox. The traditional brand celebrity spokesperson has ceded ground to the influencer, and even they to the micro-influencer. Content proliferation has driven increasingly niche content to niche audiences, finding smaller fan bases to resonate with instead of attempting the now nigh-impossible cut-through to mainstream popularity. This is the paradox of small: the long tail accounts for a growing share of content consumption, but the fractional economics of on-demand environments means that those in the long tail earn too little to be economically sustainable. Access to the means of distribution may have been democratised, but access to meaningful rights income has not.

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Spotlight

Qmusic

Since 2005 Qmusic can be received in the Netherlands on 100.4 and 100.7 FM in the ether. Q wants to bring pleasure, energy and a good feeling into the life of the listener every day. Every day, 365 days a year, we focus on the listener. We love to surprise, entertain and let listeners enjoy. As a result, in 10 years Qmusic has become the 3rd radio station in the Netherlands in the most important target groups. Every week an average of 2.5 million different listeners tune in to Qmusic and there is a strong desire to grow even bigger.

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