Greg Miall’s Post

Just a few thoughts on the MrBeast Reality Show and how the social commerce industry is coming fast for the streaming world. - The market cap of the advertising industry which has been around for thousands of years is $763.2 Billion - The social commerce industry which has only been around for a decade will be worth $11.1 Trillion by 2030 A major tectonic shift. Excited to see and be a part of how the ad industry starts to shape-shift and evolve towards playing an integral leading role in this revolution.

🎬📺 The ongoing conversation about creators evolving beyond their social media platforms continues to heat up. In an interview with the The Hollywood Reporter, Youtuve CEO Neal Mohan made a strong case for YouTubers to be considered for traditional TV awards like the Emmys. He highlighted the high production quality and cultural impact of top creators, showcasing their innovative approaches and deep audience engagement. “You might not expect MrBeast to stand on the same stage as Jeremy Allen White. But if you think creators are just recording vlogs from their bedrooms, then I have some big news.” - Neal Mohan With YouTube reigning as the top streaming platform in the U.S. last year, it's clear that online media is taking over. While traditional TV has its merits, creators like Rhett and Link with their show "Good Mythical Morning" are proving that YouTube content can be just as sophisticated and relevant. Mohan believes recognizing these creators could bridge the gap between traditional and new media, honoring modern culture and engaging the next generation of viewers. Is it time for YouTubers to hit the Emmys stage, or have we finally gone too far? 🤔 https://lnkd.in/ghdsjdHp

It’s okay to be cheap and dying for attention. When we first heard about Peak TV, I took it as a measure of quality, the intersection of a number of market forces that allowed shows like The Sopranos, The Wire, Rescue Me, The Shield, Mad Men, Breaking Bad, and others, to find an audience and flourish.  Then in 2015, the term shifted to volume as opposed to quality, and now, with the number of TV series declining in 2023 for the first time in over 10 years, we’re finally analyzing the climb up on the way back down the mountain. With more outlets and means for watching “television” than ever before (that hasn’t yet changed), it’s a gross oversimplification to pin the problem simply on “too many shows.”  At the ATX Television Festival last week, Karey Burke, President of 20th Century Television, said “I think we all felt the strain of 600+ television shows in the marketplace and not being able to get the eyeballs … it’s not fair to the creators because platforms don’t have the marketing dollars for 600 shows.”  To put it differently, at the peak of “Peak TV,” the costs of making and getting attention for a show outpaced the limits of fans’ ability to hand over that attention. This is where creators come in. Creators are known brands that come not only with a pre-built fan following but with audiences primed to grow through organic social word-of-mouth.  And they have done all of this using lean, efficient production models, creating high-quality content that resonates deeply with their fans without breaking the bank.  Their ability to deliver engaging stories at a fraction of the cost of traditional studios can be a game changer for the industry if the industry will open its mind enough to see it. Hollywood needs to accept on an emotional level that the creator economy isn’t just a trend or something that is happening “over there, and isn’t it annoying that they’re distracting the kids from the stuff we’re doing over here.”  That is the attitude that film once had towards TV, that broadcast once had towards cable, that they all had towards subscription streaming, and that, to an extent, many still have towards AVOD/FAST.  Right now, Hollywood and creators alike can go well beyond the $100 million Mr. Beast deals. In fact, they SHOULD go well beyond those deals because the industry has a chance to recapture the attention of engaged fans at more rational content and marketing costs. The best media businesses have been built on a foundation of serving engaging content to eager fans in cost-efficient ways.  The right pieces are all in front of us.  Will we figure out how to put them together? Yes, when we figure out how to re-set our expectations on engagement and cost-effectiveness. #EquityCrowdfunding #Creators #CreatorFinancing #CreatorEnterprise #CreatorMiddleClass #NewHollywood

📺 Did you know that 86% of viewers pay more attention to what they're watching while co-viewing YouTube on TV screens? According to a recent study by Think with Google, seven in 10 people are open to watching personally relevant ads while co-viewing on TV screens. This research shows the power of YouTube on TV screens and how it can help brands better engage with their audience. Are you taking advantage of this trend in your marketing strategy? Pixability can help you navigate Check out the full study from Think with Google to learn more about the future of TV shared experiences. #YouTube #TV #MarketingStrategy #pixability

✅🖥️ The Verge (podcast; 6/17): “…the company just announced that it has 80MM MAUs monthly and according to Nielsen, it had an average of a million viewers watching every minute in May 2024, beating out Disney Plus, Max, Peacock, and basically everything else save Netflix and YouTube. All of those streaming service price hikes are driving people to free options, and Tubi is right there to catch them. Tubi’s model is different: it licenses content that’s already made, lets people watch it for free, and supports itself with advertising. But that means it’s competing for ad dollars across the attention economy online: not just Netflix, but TikTok, Instagram, YouTube, and everything else. I wanted to know how (their CEO) was thinking about that, especially since the social platforms don’t spend any money on content at all. CEO Anjali Sud’s plan is to make Tubi feel like a more premium home for better work from all of those creators. It just launched something called “Stubios,” which allows fans to vote on creator projects that Tubi will fund — basically setting up a YouTube- or TikTok-to-Tubi pipeline. But all of that costs money, too: CEO Anjali Sud recently said that Tubi isn’t yet profitable, “but it could be,” and we really took a deep dive into that.” ⬇️ #podcast #fast #streamingtv #ctvadvertising #upfronts #canneslions https://lnkd.in/eRDJXkCX

Important article from Variety, showing how online video is reducing TV watching time amongst Gen Z. Key takeaways: ⬆ significant increase in per user video hours watched for all major social platforms from 2022 to 2024 📺 video now 59% of time spent on social networks, up from 48% in 2021 🧑 Gen Z prefers social video and livestreams to old school TV and movies This is incredible change in a short period of time. If you move quickly there is tremendous opportunity here. At Gaggl we're combining the Creator Economy and TV, with fully-interactive broadcasts of library content, hosted by creators, for a Gen Z audience. If you're in TV, or interested in the future of media, check out what we're doing. Adam Harris, James Duffield

We’ve all seen the statistics: ·     2.1 billion MAUs ·     50% of YouTube views are on CTVs ·     Hundreds of hours of videos uploaded every minute But let’s be clear: YouTube isn’t CTV. Even YouTube TV isn’t CTV. Don’t get me wrong. There’s obviously a place for YouTube in a video plan. But the beauty of CTV is that if offers a different kind of content experience than simply watching video. And that distinct consumption experience is an important part of every consumer’s media diet. Oh, and at a scale equal to YouTube. The week of June 26th, three shows topped 1 billion minutes viewed: Suits (3.1B) across both Netflix and Peacock, The Witcher (1.3B) on Netflix and The Bear (1B) on Hulu. A week later Suits increased to 3.6 billion minutes, The Lincoln Lawyer (1.4B) displaced The Witcher (1.1B) and The Bear dipped to a still significant 791 million minutes. Around that time, YouTube’s best performing general entertainment channel, Mr. Beast, released “$1 vs $1 Billion Yacht!” which has generated a totally respectable 185 million views. The next 9 largest US channels all featured either children’s programming like Cocomelon, music (Taylor Swift) and WWE. Consumers bring a different mindset to “TV” than they do to video. Sometimes they are looking for comfort (The Office); other times they want to immerse themselves in a high attention state (Yellowstone) and on Sunday nights they may want both routine and immersion (Succession, House of the Dragon). YouTube might bring a few minutes of entertainment like Mr. Beast, plenty of great how-to videos and, undoubtedly, hours of nursery rhymes and ABCs for toddlers. But it doesn’t have those monoculture shows that people are talking about all the time. Scripted or unscripted, premium, long-form entertainment on CTV delivers massive reach and high engagement at a par with YouTube.

YouTube is marking one year as the most-watched streaming platform on Nielsen’s Gauge chart, which tracks what consumers are watching on TV, and the platform says that in the U.S. alone, 150 million people are watching on TV sets each month, totaling 1 billion hours daily. YouTube has created scale, both in audience and in business. The video platform says that it has paid out more than $70 billion to its creators between 2021-2023, helping to create real-world businesses, from GMM’s Mythical Entertainment, to Mr. Beast’s North Carolina campus. If the content is connecting with consumers, and they are watching it on their TV sets, should it then also be in the mix for kudos like Emmys, or other high-profile honors. Next week, YouTube will host its annual Brandcast upfront event at Lincoln Center. Last year’s event, with many competitors forced to pivot amid the WGA strike, multiple media buyers said that YouTube had the most successful presentation, in large part by leaning on its creators, who span food and fashion, sports and entertainment.

Understanding HOW and WHY audiences watch what they do is just as important as understanding WHAT they watch. and key to successful #contentstrategy. The perfect storm of the #wgastrike, the #sagaftrastrike, new pressures on #streamingtv and the decline of #lineartv means we have to redouble our efforts to respond quickly to frequent and rapid changes in #audiencebehavior! Some highlights of those changes in this interesting piece:

Today, my CEO, YouTube's Neal Mohan, published a thought-provoking op-ed outlining why the Emmys need to embrace creators and some of the brilliant, entertaining content that they are producing. Not only are they developing programming that’s popular and relevant, but they're also breaking boundaries. They're finding large audiences not just on mobile but on TV screens too. The success is in the data: the number of top creators with a majority of their watchtime coming from TV has increased more than 400% in the last three years. And YouTube is the number one most-watched streaming platform in the U.S. #YouTube #CreatorEconomy #TVProgramming #Emmys