Alexandra Mendal

If YouTube & Tubi Are Giving Disney a Run, YouTube is Lapping Tubi We know Old School Media is struggling. That becomes increasingly clear when you see that Tubi and Disney+ are getting the same amount of watch time in the streaming world. However, I've previously written about how that's somewhat misleading, as Tubi's free-tonnage approach is different from Disney's premium-targeted approach. Still, Tubi does present a headwind for our old-school friends. But they're not in the same ballpark as YouTube. If for any reason you were thinking that YouTube (9.7% of streaming) and Tubi (1.8%) are in the same league when it comes to the free streamers out there...think again: 🎬 YouTube's Content Size and Diversity With an endless river of content flowing every minute, YouTube's vast and varied offerings eclipse Tubi's reliance on older studio content. YouTube caters to every niche imaginable, from DIY crafters to tech enthusiasts, ensuring there's something for everyone. Unlike Tubi's relatively static library, YouTube's dynamic content creation keeps users hooked with fresh hourly uploads. As Tubi grows, YouTube's comprehensive library, which includes every genre Tubi offers and more, becomes even more of a threat. Fun Fact: YouTube users upload over 500 hours of video every minute!​ 💰 Monetization Mastery While Tubi's ad monetization details are hazy, YouTube's strategy is crystal clear and robust. YouTube excels with diverse ad formats and sophisticated cross-device tracking, not to mention its integration with Google's extensive services from search to cloud computing. This allows them to command higher CPMs and offer more targeted and effective advertising solutions. If YouTube mimics Tubi's interval-based ad viewing, it could easily leverage its superior targeting to yield even higher revenues. Pro Tip: YouTube’s ad revenue reached $31.5B in 2023. 👥 Champion of the Creator Economy YouTube isn't just a platform; it's a community builder. And while Tubi's CEO might highlight their niche servicing, YouTube is the ultimate enabler of niche communities. With YouTube’s studio team ramping up efforts to integrate more high-quality studio content, coupled with their unmatched monetization, they’re poised to attract even more creators and viewers alike. Creator Spotlight: YouTube has paid out over $70B to creators over the past 3 years. Tubi's current partners are undoubtedly setting its targets to get more of that. #InConclusion... While these are 3 of the key points, don't forget about YouTube's global reach and technological edge, making it a formidable giant not only in streaming, but across the digital landscape. #Media #StreamingWars #YouTube #Tubi #DigitalMedia #ContentCreation

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On Monday, I discussed the long-term prospects for Tubi. On Tuesday, I praised Issa Rae's influencer marketing venture. "On today", these items converged: Issa partnered with Tubi for their new "Stubios" program—a fully-funded incubator for emerging creators. Stubios mirrors our initiative at BlackOakTV. Our "Choice" feature will empower users to greenlight the Black TV shows and films they want to see, illustrating the potential of fan-driven projects. While Tubi leverages its Black Indie vertical's success, we aim for similar engagement at BlackOakTV. So I respect Stubios model, but I question Issa’s choice to align with Fox Corp., Tubi's parent company. A Brief History Lesson: In the '90s, Fox, then a lesser network, adopted a strategy targeting Black audiences with original programming like Living Single and Martin, which became instant classics. These shows boosted Fox’s ratings, enabling it to secure NFL rights in 1994. Almost immediately after rising to prominence, Fox dropped its Black-centric shows. The revenue and prestige from Black viewership and NFL games helped launch Fox News in 1996, an outlet that has since posed significant challenges for Black communities. Present Day: Tubi has been thriving off indie Black projects. Fueled by popular content and the viral power of platforms like TikTok, Black viewership is propelling Tubi’s growth, again benefiting Fox financially. Don't buy that Tubi is all that important to Fox? Well, during Fox's last earnings call, Tubi was mentioned 24 times, nearly as often as the Fox name itself. So what does this have to do with Issa? Issa is partnering with Fox to bring more diverse (read: Black) voices to Tubi. I commend her for the thought, as I'm sure her intentions are pure. And when you can marry business with your passion for Black people, life is great. I know this because I live it every day with #BlackOakTV. But Issa once said, "I'm rooting for everybody Black." Yet, this move ain't that! This move is helping Fox run an old trick that allows Rupert Murdoch's Fox, which I believe is more responsible for Black plight than any other modern major media company, to further its highly questionable agenda. And they need Tubi to do it! The Fox Network is less relevant than it's been in decades. Fox News is going the way of the dying cable business. Fox Sports is irrelevant. Even TMZ is struggling. Instead of letting this decaying company go by the wayside, Issa is lending her credibility to the asset most linked to Fox's future. And she shouldn't do it. The value generated by Tubi still goes to the Murdochs, and there's no telling what crazy thing they'll use it to invest in next. My guess is it won't be something that empowers Black people. I know the world isn't perfect, and we, including myself, can't always line up our beliefs with our work. However, when it's this obvious, I believe we can and should make better choices. And I hope in the end, Issa does just that.

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Will Spotify's price hike mean more for artists? Let's break it down: Spotify just announced a price increase for its Premium Individual plan—from $10.99 to $11.99. They promise more innovation and better product features. But there’s a loud question echoing through the music corridors: What about the artists? Streaming platforms are key players in the music industry’s economics. As prices go up, naturally, artists wonder if their cut will see some enhancement too. The spotlight's on Spotify's next move regarding royalty distribution. Will the artists' royalties see a corresponding increase with this commitment to enhanced consumer experiences? This isn’t just about numbers. It's about fairness, transparency, and respect for the creators who are the backbone of every track played. Artists and labels, what's your take on this? Is it time for streaming services to redefine 'value' in the music industry?

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TikTok recently introduced a new way for artists to further engage with their fans. Here's how Fan Spotlight works: For quite some time, artists could pin their songs to the top of their TikTok profile but the ability to feature was limited to just their content. TikTok recently introduced a new feature called Fan Spotlight, giving artists the ability to pin or spotlight up to 5 videos from other accounts for 7 days. After 7 the days, the content becomes unpinned and the artist can pin a new set of 5 videos. To pin fan videos, artists can: 1. Go to their profile  2. Click on the Music note tab  3. Click fan Spotlight  4. Pin liked videos, videos they are tagged in, or videos using their music The new feature is another resource for artists to engage with and highlight their fans. From the fan side, when one of their videos is pinned they receive a notification. Subscribe to my newsletter for more content like this https://lnkd.in/eReqf9hp

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HAPPY FOURTH OF JULY WEEKEND. Before everyone unplugs for the weekend - I would just like to quickly explain the power of Creators on Snapchat. This creator has been crushing it.. oh, and FYI - this creator has ~162K subs. 😱 1. Snapchat is POWERFUL - one of our creators is getting 118M+ views in a 28 day period.. that is 4.2M+ people a DAY. 2. Watch-time on Snapchat is powerful, with some people having 30 second watch-time to 10 minute watch-time. 3. Snapchat is UNTAPPED - making these audiences less ad fatigued and incredibly inclined to engage because authenticity always rules. 4. There is a place for most brands whether you want to hit top or bottom of funnel through marketing campaigns via Snapchat. 5. These are great numbers; however, we have creators at HG Media Group garnering billions of views // huge amounts of conversions in a 28 day period. Happy weekend, LinkedIn fam - go relax (and then explore snapchat).

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Following Shari Redstone’s sale of Paramount to Skydance and RedBird Capital Partners, the future looks bright. With a $1.5 billion cash infusion, the new Paramount aims to become a premier creative-first destination, fostering stability and attracting top talent. Learn more about how this merger positions Paramount for growth and competitiveness in the evolving media landscape in Matt Donnelly’s article for Variety: https://lnkd.in/gxVwryhb #ParamountSkydance #EntertainmentNews

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I am so excited about TikTok's new initiative, "Off the Record," which spotlights the intricate creative processes of iconic artists like Charli XCX and Meghan Trainor. This groundbreaking series not only peels back the curtain on how music is crafted but also amplifies how platforms like TikTok are reshaping the way we discover and interact with music. It's a vivid reminder of the boundless potential for technology to enhance artistic expression and audience engagement. As we navigate this evolving landscape, I find myself asking: How can we leverage similar innovations to transform our connections with music lovers worldwide? What strategies can we adopt to ensure that we are not just keeping pace, but leading the charge in this dynamic era of music consumption? #MusicIndustry #TikTok #CreativeInnovation #DigitalMusicTrends

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Traditional advertising = one way. Brands tell consumers stuff Advertising in gaming = two way. Brands tell consumers stuff, consumers tell brands stuff right back. It's an incredibly powerful dynamic that can be groundbreaking if brands handle the relationship appropriately. I spoke with game industry expert, Amanda Rubin, about exactly this dynamic.

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In a bold move reflective of broader market trends, Spotify has once again raised its prices for Premium subscribers in the U.S. This decision marks another significant development in the music streaming landscape, influencing not just consumer behavior but also the economic framework within which we operate. As leaders in this dynamic industry, we must consider how these price adjustments affect consumer loyalty and market competition. What strategies should music companies adopt to balance profitability with customer satisfaction? This ongoing evolution offers both challenges and opportunities, prompting us to think critically about our approaches. #MusicIndustry #StreamingServices #BusinessStrategy #Spotify

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Billion-dollar PE buyouts are ramping, just see today's Squarespace news. Investors in media x agency deals should pay attention... Global deal activity is up 24% for 2024 YTD, with a total deal volume of $726B. Could be the beginning of a cyclical M&A rally, since deal volume was super depressed over the past couple years... ...and investors need to put money to work! Below are some recent public-to-private highlights, including a large media co deal where I did a deep analysis 👇 May 13 • Permira buying website builder Squarespace • Went public in 2021, closed 1st trading day at $5.9B valuation • $6.6 billion May 6 • EQT Group buying US digital consultancy Perficient • EQT also backs UTA, which has grown through M&A • $3 billion April 2 • Silver Lake buying diversified media co Endeavor • WME / UFC parent co TKO Global will stay public • $13 billion April 1 • Advent International buying payments processor Nuvei • Nuvie backed by celeb Ryan Reynolds • $6.3 billion Similarities across these recent deals include... - founder / CEOs staying on post deal - belief that targets are undervalued in public mkts - desire for more flexibility to grow, do M&A, and drive ent value for new owners That last point is key, as I think there's a strong desire to grow through M&A in a market where there are many sellers who can get picked up at good/fair prices VS the crazyness of 2020/2021. This is timely because... Last month I wrote about public-to-private deal dynamics in my Silver Lake / Endeavor analysis, check it out here --> https://lnkd.in/gtprBx7U I'm also working on an active client deal with similar characteristics, and it's important to know where capital is flowing, and why. Are you all seeing a similar trend?? -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open. #media #agency #creatoreconomy

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Two very important observations about Sony here: 1️⃣ The fact that Sony bided its time through the streaming wars has been extensively covered in the trades. They resisted the urge to sink millions of 💲to create their own platform and instead purely profited off their catalog by dealing it to the content hungry +’s of the world. This stacked cash in their cabinets and also let them observe audience behavior without risk. Now Sony is flush and informed. 2️⃣ The Alamo acquisition shines a light on a very interesting division of Sony called Sony Pictures EXPERIENCES. If you go through the trouble of building a division with that title and you combine the details of point 1, I’d say Sony believes there is value to be mined in traditional and event theatrical. Sony, with its methodical approach, will certainly have massive sway over the future of exhibition. This is 💯% exciting news. Great to see one of the studios go another way and be diligent. I believe we will see a lot of leadership from Sony in the upcoming years. #alamo #sony #filmindustry #movies

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YouTube Killed the TV Star For years, I’ve been telling you YouTube is the biggest TELEVISION network on TV - and one with an unparalleled advanced TV audience advertising machine. https://lnkd.in/eAykCjRa I’ve been warning y’all in the TV business that your TRUE competition now is NOT each other, but rather Google’s CTV Death Star. Seems Google liked that pitch, and turned it into their #Upfront presentation: “Other media companies unveil new TV shows coming to their services. YouTube used the stage to boast about its massive reach and engagement relative to traditional TV. YouTube‘s message to Madison Avenue: The video giant isn’t traditional TV. It’s bigger (with literally billions of viewers) and better at targeting relevant audiences.” https://lnkd.in/e_G-pZXy This week I dissected Nielsen’s new look Gauge, which breaks down TV viewing by publisher - across all platforms. https://lnkd.in/gaBZ3KfC With this analysis (my version below) YouTube comes in second for total monthly viewing. But, note, it takes ALL of The Walt Disney Company & Disney Streaming combined (ABC, ESPN, Disney+, Hulu) to best The Tube. It took ALL of NBCUniversal (NBC, Bravo, USA, Telemundo, MSNBC, Peacock), all of Paramount (Pluto TV, Paramount+, CBS, Comedy Central, MTV, et al), and all of Disco Bros (TBS, TBT, MAX) to LOSE to YouTube. YouTube’s one, simple, massive app is by far the number one channel… ON TV. It’s the first stop on CTVs for most TV viewers under 35 and, everyday, more and more audiences over 36 too. And, crucially, they are better at video advertising than every other TV platform in the game - catering equally well to massive budgets from P&G and local pocketbook budgets from Mom & Pop Shops. Many in the TV ad biz will obsess this week over Netflix’s fancy shmancy Upfront and their Christmas NFL games. But Netflix’s total viewing (see below) is FAR off the competitive set - ESPECIALLY considering only 7% of their viewing is on the ad tier where viewers can (get this) see ads. (Kinda important in the Upfront.) But YouTube also had the NFL - and the NBA - at their presentation. More importantly, on their Upfront stage, YouTube represented the fastest growing segment of entertainment - The Creator Economy. While other TV platforms trotted out traditional Hollywood celebs to talk about a new wave of TV shows, YouTube brought out the biggest stars in the world that you’ve never heard of - Haley Kalil, Cleo Abram, Kinigra Deon, Ryan Trahan, Taty Cokley, Sydney Morgan, Zach King, Valkyrae. These new TV stars don’t just make shows, they command communities - in ways that limited series and procedural dramas never will. TV is not changing. It changed. Years ago. You may have missed it. But don’t worry, I’m sure there’s a video on YouTube about it, so you catch up.

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The UPROXX newco is a smart media M&A rollup. Music and culture focus + a strong leadership team. I'm bullish on them doing well by *brands and fans*, and getting immediate revenue traction based on their WMG YouTube media sales partnership. In my newsletter tomorrow, I explain my insights on the deal, key questions I'm asking, why I think UPROXX STUDIOS is setup for success. For now, let's review the key deal details... UPROXX STUDIOS OVERVIEW • A new “brand solutions studio” that “connects brands with talent, cultural arenas, and audiences”  • Founded by media veterans Jarret Myer (CEO), Rich Antoniello (Exec Chairman), and will.i.am (Chief Visionary Officer) • Result of acquisitions of Uproxx, HipHopDX, Dime Magazine, and other Warner Music Group media assets • Reaches 170M+ monthly US visitors and generates 12B+ monthly US video views POST DEAL OPS • “Expect significant investments in our brands, team, and the experiences we offer” • Includes the excl license to represent WMG’s YouTube inventory for all US media sales  • Will integrate will.i.am’s FYI AI tech and FYI radio into ops UPROXX DIVISIONS • Uproxx – Millennial-focused culture media brand and production co (acquired by WMG in 2018) • HipHopDX – Digital mag of hip hop music criticism and news (acquired by WMG in 2020) • Dime Magazine – Digital mag of American basketball lifestyle (acquired by Uproxx in 2015) • FYI – productivity tool designed to serve Creatives. Combines messaging and collab tools with file mgmt and content pub features NEWCO VALUE PROP  • Access to A-list stars via WMG YouTube inventory + UPROXX superfan communities gives brands and advertisers new ways to participate in music culture • FYI AI tech will enable creation of AI StoryLabs, a new branded content and social media mgmt unit within UPROXX Studios  • "Merging the agility and freedom of an independent entity with the reach and resources of a major music label.” UPROXX HISTORY • f/k/a as Uproxx • Founded 2008 by Jarrett Meyer and Brian Bater (also co-founded Rawkus Records in 1996) • Acquired by male-focused media ad network Woven Digital in 2015 • Rebranded to Uproxx Media, Jarrett became GM • Bought by WMG in 2018 • Price undisclosed, but previous Uproxx Media investment was ~$43M • Value prop of acquisition was to “create engaging new experiences for young consumers, global promotional possibilities for brands, and innovative marketing opportunities for artists” • WMG exec Max Lousada and Uproxx co-founder Jarrett Myer used to work together at Rawkus Records WMG RELATED HISTORY • Announced 600 layoffs in Feb 2024, incl potential sale of Uproxx and HipHopDX • Also wound down its podcasting brand Interval Presents and social media publisher IMGN • Overall faced challenges in its O&O and digital brand sales biz -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

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Great article from Yahoo featuring the work Gaggl is doing. Really highlights what we call TV 3.0 - Gen Z watching live video content on social media channels. It's a whole new opportunity for TV content owners, with new audience and new revenue. 📺 💲 Well done Adam Harris for giving such a great interview! Selected quotes: Why are large numbers of people, many of whom are members of Gen Z, spending hours enjoying Bob Barker-era Price is Right episodes for the first time with strangers on the internet? Adam Harris, one of Gaggl’s co-founders, worked at Twitch for almost eight years and saw firsthand that livestreaming was as close to a traditional TV-watching experience — appointment viewing on linear channels — as Gen Z was going to get. Despite the newness of the concept of watching someone else stream a TV show, the elements of traditional TV viewing are there. There’s a specific channel to go to (the Twitch streamer’s page), there’s a set schedule and viewers can’t binge-watch more than one episode at a time, unless the streamer decides to. This would be similar to when networks broadcast marathons on cable TV. Tagging some of the most progressive TV 3.0 thinkers: Alan Wolk, Tony Marlow, Danny Rowlands, J.R. Griffin, Megan Fraher, Traca Rafferty, Vinay Solanki, Gary Woolf, Emma Derrick, James Duffield #futureoftv #tv3.0 #thepriceisright #fremantle

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