Competitive Environment
Disney Play Chapter 2
Competitive Environment
A) Market Life Cycle
The streaming industry is in the late growth and early maturity stage of the market life cycle. This is primarily shown by observing the growth rates of existing streaming services that are plateauing. Disney Play marketing is nonexistent due to the predicted launch in 2019. However, there are three main avenues used by competing companies that are both appropriate and beneficial to the industry. These are (1) Physical Products associated with entertainment (e.g., toys related to films, etc.), (2) Social Media and YouTube, and (3) Cross Advertising with Affiliated Networks. Comment by Edwin Stafford: But what about all the other players in the market? Are their marketing programs aligned with what the PLC says about growth products? Comment by Edwin Stafford: Explain… physical products? This is ambiguous. How can streaming services have physical products?
Growth Rates are Plateauing
The total number of new subscribers every year is declining. This shows that the industry is still growing but may see a plateau in the near future. As shown in the charts below, leaders in the streaming industry have continued to experience substantial growth each year, though they have all reported decreased percentages of new users. These percentages are projected to fall in the coming years as well.
Physical Products Associated with Entertainment
Amazon Prime Video has implemented this strategy by placing flyers in their boxes. Disney Play has the capacity to do the same with their physical goods such as toys, inserts in disk cases, and theme parks or physical locations. This guarantees that its ads enter into consumer’s homes as they purchase material, and also ensures exposure whenever they visit other physical locations.
Social Media and YouTube
Streaming platforms thrive off of social media to encourage trending content and new releases. Facebook, Twitter, Instagram, and Reddit are all valuable platforms to gain exposure quickly to a large mass of consumers. Users can then share content with others to garner even more exposure. As an extensive search engine, YouTube is also a beneficial resource to leverage advertisements through.
Cross Advertising
Rarely a streaming service like Netflix will be advertised on traditional television because it is too big of a competitor. However, Hulu is advertised on its partnered networks like ABC. With Disney being the main affiliate of many networks it has the massive opportunity to cross-advertise on ABC, Hulu, Disney XD, Disney Channel, ESPN, Fox, in movie theaters, etc. This opportunity gives Disney Play an advantage in the entertainment and streaming industry. Comment by Edwin Stafford: Be careful with its versus it’s
The other strategy that various streamers are using is exclusive content. This helps to differentiate each streaming service (this is expected at the growth stage of the product life cycle) and also helps to raise switching costs on buyers – buyers must continue to subscribe to see their favorite shows. This fits with the product life cycle recommendations for companies operating in mature markets.
Good overview of strategies of key competitors. Just make sure you understand the difference between product life cycle and diffusion of innovation.
B) Buyer Bargaining Power
Threat Level: MODERATE
In streaming services, buyers and customers have a moderate bargaining power. This is as a result of a shared setup in which the streaming companies control a few production houses whereas most of the buyers are split into two segments; the generalists and the fanatics. In essence the generalists will subscribe and unsubscribe willingly to any streaming service that offers them desirable quality and the fanatics will stick only with the content providers who offer specific shows of which they are avid fans. A classic example would be the ESPN streaming service to sports fans. Further, Greenstein, Peitz & Valletti (2016) through their concept of net neutrality strive to explain why the each of the parties in this setup enjoy an equally split bargaining power. Comment by Edwin Stafford: Isn’t production a supplier? Why are you talking about production houses here in buyer section? This doesn’t make sense. Comment by Edwin Stafford: So explain – which ones have more bargaining power? Comment by Edwin Stafford: Great information – I need a mapping paragraph that clearly and concisely articulates these issues with subheadings in the text that parallel the mapping paragraph. Comment by Edwin Stafford: Explain. I need you to tell the reader which one has the more bargaining power.
The bargaining power of buyers in the streaming entertainment industry is medium, and this is due to (1) the demands of “generalists” versus “fanatics” of streaming services; (2) etc.
Within the U. S, there exists over fifteen content providers who offer streaming services to the general viewership. However, a quick analysis of the top ten reveals common household names that may be classified as the key industry players and they include Hulu, Netflix, Amazon Prime, HBO, and YouTube. Consequently, each of these content providers channels their efforts on varying target markets owing to their services.
In the case of the end users, the main target markets include professionals, teenagers fascinated by trends in technology, adults, and kids to name a few. In line with Porter’s five forces, each of these niches has varying levels of bargaining power stemming from pricing, quality and customer service. A case in point is Hulu whose multi-profile availability, ease in accessing products as well as the versatility of content sets it as the leader of the streaming services. Customers who’ve subscribed to Netflix on the other largely dictate the bargaining chips as given that they have several alternatives such as switching to ESPN for sports, Disney for cartoons and animations or Hulu for its affordability.
The competitive rivalry concept relates to the aspect in which diverse firms existing within a specific industry apply various strategies to outdo each other with the intention of raising their individual profits. The streaming services industry as earlier mentioned is populated by over fifteen firms, with other new ones popping up by the day thanks to the advancement of technology. This raises the threat levels within this industry in that the firms have to strategically wage against the bargaining powers of their service providers and those of their consumers. In addition, given that none of them enjoys a monopoly, they have to guard themselves against new entrants as well as their niche market could switch to other alternative substitute providers. Comment by Edwin Stafford: ???? I’m confused here… do you understand the concept of BUYER bargaining power? This is the ability of buyers to exert pressure on the industry to reduce prices or switch. Based on your earlier mentioning of generalists and fanatics, I think your generalists have more power because they are less loyal and will drop a service. Fanatics want to see certain shows. So they’ll have less bargaining power – meaning that they’ll want to stick with the service to keep watching favorite series. It may be that your fanatics may be willing to pay more to continue subscribing to a service compared to generalists.
Greenstein, S., Peitz, M., & Valletti, T. (2016). Net neutrality: A fast lane to understanding the trade-offs. Journal of Economic Perspectives, 30(2), 127-50.
You talk about production houses and then later competitors here – but this section is supposed to talk about buyers. Do you understand the differences of these different entities? It may be that you need to simply move some of this discussion into the right places below.
C) Competitors
Competitors - Threat Level is High Comment by Edwin Stafford: I would say that industry-wide, competitive rivalry is high. Consequently, streaming services are seeking exclusive content so that each service doesn’t duplicate the others – this in turn, reduces competitive rivalry.
Within the streaming service sphere, the principal competitors include Hulu, HBO, YouTube, Amazon Prime, Netflix, Sling, Pluto and Fubo T. V. However, with its intention to split from Netflix, Disney will have to contend with additional competitors comprising all the aforementioned as well as Time Warner, Sony, CBS and Viacom (Lobato 2017). In regards to its family fun park niche, Disney’s subsidiary, Disney World will have to face off with Cedar Fair and Universal Orlando, whose Orlando and Hollywood based Harry Potter family park is attaining steady growth. For this, their strength lies in the huge, cult-like Harry Potter fan base whereas their copy-paste type of strategy will be their undoing. Comment by Edwin Stafford: I need your opening to be a mapping paragraph: The competitive rivalry amongst streaming services is high. This is because (1)…; (2)… etc.
Within the comic industry, revenue is often grossed up in fan base numbers. This is as a result of the huge fanatics who adulate shows like Star Wars and Marvel, all dotted with either humorous comics or villains. With this in mind, it would be inevitable to place Universal Orlando as Disney’s main competitor, thanks to its Harry Potter theme park which primarily rival Disney World. As a new entrant into the market, their provision of the alternative family getaway park will definitely reduce Disney’s profit margins.
Lobato, R. (2017). 13. Streaming services and the changing global geography of television. Handbook on Geographies of Technology, 178.
I’m completely lost here – Why are you talking Universal Orlando? And Harry Potter theme park? This is supposed to be about streaming services… This section needs to be completely redone. Do you even understand the assignment? You’re supposed to be evaluating the competitive rivalry of STREAMING SERVICES – not amusement parks!
D) Supplier - Bargaining Power
Threat Level: LOW
Disney Play is set to be a service that provides consumers with content from Disney and its subsidiaries such as Twenty-First Century Fox (starting 2019), ESPN+, Marvel, and Star Wars. Because all of these subsidiaries are owned and operated by Disney, they have low bargaining power. The main reason this is the case revolves around the growing popularity of streaming services. Comment by Edwin Stafford: Yes… BUT, you’re supposed to be talking about the industry first. I gave you an article about how Netflix has dominated production companies in Hollywood, and that is driving up the cost of talent and production.
While I agree that Disney has all of its production in house, it still needs to have ‘stars’ who may be under contract with Netflix. Overall, I think the articles about how production costs are going up because of Netflix’s big production programs is still a threat to Disney as it uses many of the same products facilities, stars, etc.
https://www.wsj.com/articles/netflix-the-monster-thats-eating-hollywood-1490370059
Disney Is Its Own Supplier
Competitors such as Netflix and Twitch collect content from multiple sources and place them in one convenient location for subscribers to watch. For a long time, one of the suppliers for Netflix has been Disney. Disney intends to break away from this and place all of its content in its own streaming service, circumventing competitors by becoming its own supplier. Because there are many suppliers such as Disney XD and ESPN that fall under Disney’s umbrella, this enables it to provide multiple facets of entertainment, from children’s shows to sports, to subscribers of all ages.
I agree that Disney may be able to shield a bit from its production costs hurting the industry, you still need to talk about the INDUSTRY first and how suppliers are getting higher bargaining power because of Netflix’s dominance in production.
See the link above from WSJ.
E) Potential Entrants
Threat Level: HIGH
For many consumers television streaming is already a saturated market yet many more companies have pledged to enter. There is a strong entry barrier to the streaming market but those with the capacity to do so likely will. New entrants to the streaming market will come from one of three areas: (1) Traditional television providers creating their own streaming services, (2) established platforms that are actively looking to create new streaming experiences and (3) cross-boundary disruption
This mapping paragraph needs some work. It needs to read similarly as follows:
The threat of new entrants in the streaming entertainment industry is high due to (1)…; (2)… etc. .
Entry Barriers
There is a high barrier to enter the video streaming industry. The largest difficulty is acquiring, creating and licensing content which is all very expensive. Prospective providers must also have the network capacity to hold a significant amount of content and support substantial use without crashing. This is also very expensive. However, those that can meet at least one of those requirements are quickly flooding the market.
https://sgmanetflix.weebly.com/barriers-to-entry.html
Entry by Traditional Television
The most substantial threat of entry, at least in the short term, will come from established entertainment providers. These providers have realized they don’t need to rely on Netflix to distribute their content, they can do it themselves. These providers already have their own content and the means to create more. Showtime and HBO have found streaming success with popular programming such as Showtime and Game of Thrones respectively. Other providers, including Disney, have plans to follow suit.
The advantage of these companies is clear. Why have somebody else distribute your content when you can cut out the middleman and do it yourself? Consumers pay you directly to watch your programming. If the programming is popular then the consumer can come to you for it. The door is open since Netflix and Hulu are finding success with their original programming, rather than having to rely on outside content to bring in views.
While these traditional providers can easily enter the market, they aren’t considered very threatening by established streamers. Netflix doesn’t consider them to be a threat because they cannot air Netflix’s original content.
Platforms
Some new entrants are attempting to recreate streaming as we know it. Streaming is great for watching your favorite TV shows but can also be used for other ventures. These companies are working to make streaming more social and interactive. Rather than just tuning into a program you can interact with it and share it with your friends.
Microsoft recently announced Project xCloud, a video game streaming service for the Xbox One. The service will give users a whole new way to play, allowing them to interact further with other gamers.
https://kotaku.com/microsoft-announces-xbox-game-streaming-service-1829595928
Many social media companies are using their well-known platforms to make streaming more interactive. Facebook Watch was among the first and more than 50 million people use the service every month. Snap is following suit with Snap Originals. Snap is working on creating interactive and immersive programming that it believes to be the future of entertainment. The content is considered very experimental and the company is constantly trying out new things. But with 188 million active daily users, Snap has an incredible platform to showcase this content.
https://newsroom.fb.com/news/2018/08/facebook-watch-global/
Cross-Boundary Disruption
Amazon has already shown how dangerous cross-boundary disruption can be to the streaming industry. Walmart has announced plans to create a new streaming service under their entertainment arm Vudu. They have long been a rival to Amazon so it seems natural that they would also move into streaming. Walmart and Microsoft recently announced a five-year partnership which will allow Walmart the use of Microsoft’s cloud services and productivity tools.
https://www.investors.com/news/walmart-streaming-service-netflix-amazon-video/
Apple is considering a streaming service but has run into some hiccups along the way. Apple initially had the idea of doing to television what they had already done to music, offer everything you could want in one place. Television providers balked at the idea and turned to other services. Apple has been reworking the idea since and has yet to announce anything officially, though they do already produce their own original content.
Apple already has a large committed fan base and their entry into streaming could be worrisome. Their biggest advantage would be to offer their service to Apple users at no additional cost to the consumer. It would be a loss for the company but they have plenty of cash to spare. The streaming market likely cannot sustain dozens of streaming services and will certainly collapse to just a few. Apple has the resources and user base to survive until that happens.
Disney has a good relationship with Apple so there is a strong possibility a collaboration could happen. If Disney could work its way into Apple’s user base it would be a fantastic advantage over Netflix and Amazon.
https://www.inc.com/quora/apples-secret-weapon-for-entering-streaming-video-market.html
While the threat of new entrants is high, it must be asked at what point does it become too much for the consumer? The average consumer will only subscribe to so many services. The common belief is that this streaming boom will collapse at some point in the near future and coalesce into just a few providers. So while so many are jumping to join the industry, some will certainly fall to the wayside.
Excellent overview here. Great information! I’d just like it to be prefaced with a mapping paragraph and organized with subheadings to help drive the readability.
F) Competitive Substitutes
Open with a mapping paragraph: The competitive threat of substitutes is moderate due to (1)… ; (2)…
Substitutes for the streaming industry are narrowing due to several entertainment alternatives transforming into streaming platforms with greater benefits than competitors. The transformation is seen on social media platforms as well as in companies like Snapchat, who are now offering more interactive viewing experiences. Substitutes often offer better pricing, innovation, and diversity in content with the potential to threaten streaming giants. When people aren’t streaming they are attending live entertainment such as theater and concerts. Other substitutes include: podcasts, exercising, and eating. All posing as a moderate threat to Disney Play and the streaming industry. Comment by Edwin Stafford: Make sure you tell the reader what the substitutes for streaming are – social media, live entertainment, etc. Comment by Edwin Stafford: Need to define the substitutes before you say they’re offering better pricing… your reader is still wondering what they are. Comment by Edwin Stafford: Are live concerts better prices? Hamilton ticket can cost hundreds of dollars…
Threat Level: MODERATE
New entrant substitutes are continuous in the industry but aren’t predicted to hinder the growth of streaming platforms. Consumers are still making time for watching the video but may rob streaming giants of heavy viewership by spending time on new platforms.
Substitutes
Snapchat
The company is now providing an interactive experience for users. “Snap is unveiling its biggest initiative in original programming yet. Dubbed Snap Originals, it includes a dozen new shows produced specifically for Snap, ranging from a horror anthology to a mysterious campus mystery created by a writer on Riverdale, to a docu series about drag queens who are coming of age.” Snapchat is taking a risk with this high-end technology but feels confident due to their previous success in partnerships and advertising efforts. Indeed, “SportsCenter’s show on Snapchat reaches 2.5 million viewers, and NBC News’s audience has doubled on Snap over the last year, from 2.5 to 5 million viewers a day.”
The new innovations give viewers a 360-degree view of a scene and are unique in their services because they are encouraging users to get off of the couch and truly interact with the entertainment by walking around their environment or making their personal home the stage for a performance.
Social Media
Social media platforms are currently delivering original content, in which a majority is free to users. Facebook alone is “willing to spend as much as $1 billion on original video content.” Instagram has implemented “Instagram TV,” and several platforms offer live streaming for accounts and even athletic events. Since social media’s debut, individual followings have become iconic. Many entertainment consumers spend time scrolling through the latest posts of social media icons and often watch their content attached to other platforms like YouTube. Social media usage may be on the decline, but members may start participating on social media for different uses outside of reading their connections posts.
Live Theater
Live entertainment has rapidly grown with consumers enjoying the trendiness that is now attached with live theater. The American Musical: Hamilton, was and still continues to be one of the hottest tickets across the nation. In February of 2016 (just months after it opened), the show had “$82 million in advance ticket sales”, and now a single ticket is hundreds to thousands of dollars. Hamilton has won several awards, including Tonys and Grammys. With live theater rising back to high popularity people now plan vacations around seeing theater and are participating in artistic activities in their communities instead of watching it on a screen.
Traditional Television Network
Television still provides ideal content and has mastered the art of anticipation that is lacking on streaming services. Hit shows like NBC’s This are Us and late night television or ABC’s reality television series like The Bachelor withstand streaming popularity and still build massive fan bases with consumers getting together to watch and discuss live content.
Podcasts
Still considered streaming, but typically those who listen to podcasts listen while accomplishing another task. Podcasts are growing in popularity, and consumers are filling video time with listening to podcasts and audiobook recordings. This type of entertainment is considered to be a more educational and productive way for consumers to intake entertainment in comparison to watching the video.
Exercising
Society is on a health kick, and more people are spending time exercising in their free time. It is safe to argue that those exercising are still watching Netflix while on the treadmill. That is beneficial for streaming services, however, with the easier accessibility to music streaming and podcasts video streaming could decrease due to more convenient alternatives available for a variety of exercises. Adding exercising material to streaming services could be a solution to this threat if implemented in an “on brand” way.
Eating
“Foodies” are a statement of millennials. Those boosting societal trends are open-minded and accepting of new experiences and then sharing their experience on their social media. “With 71 percent of millennials saying they love to attend food-focused events and 81 percent stating that they enjoy exploring new cultures through food.” Food enthusiasts are threatening to stream companies because instead of consumers staying in on the weekend to watch the video, they might go out and find a new restaurant.
https://www.qsrmagazine.com/news/study-millennials-continue-shaping-food-industry
What makes substitutes threatening?
Affordability: Some new entrant substitutes typically offer more affordable options for consumers. Netflix is continuing to raise its prices, meanwhile, substitutes like podcasts, Snapchat, and social media are all free for users. If consumers’ start to become more price sensitive to the annual increases, it is likely that they will switch to other entertainment outlets.
Cutting Edge Technology: Substitutes are innovative and are providing usage far different than streaming providers. As mentioned in previous sections, the content provided by substitutes is interactive and offers a new experience whereas streaming platforms have nearly identical processes with slightly different content.
Will Buyers Switch?
Assumingly, streaming subscribers are more likely to add on the substitutes and stay with their streaming provider. Streaming subscriptions continue to grow, and with several similar companies adapting and creating their own streaming services it is unlikely that the growth will slow down. However, Disney Play must be careful when deciding on pricing because once streaming starts to reach the price of traditional television packages the value of having the service will drop from consumers.
Excellent overview of key substitutes. My main concern is that this information needs to be better presented. I’d overview in a mapping paragraph the key substitutes to streaming in a mapping paragraph, and the overview each as you do here based on the three criteria we’ve discussed in class – cheaper, better, or more convenient. Clearly, streaming is likely to be more convenient compared to other forms of entertainment. It may be that streaming services may attempt incorporate substitutes – e.g., live streaming of sporting events; filming hot plays/musicals on Broadway to exclusive streaming (think how Disney can exclusively present its own Broadway offerings on its streaming, such as Lion King, Frozen, etc.)
G. External Stakeholder and Public
Threat Level-MODERATE to HIGH
Again, need mapping paragraph… see this same comment above…
Government regulations are a major concern to streaming providers. Policies have the potential to greatly affect what content can be viewed, especially in international markets like the U.K. The values of advocacy groups are often at odds with those of Disney Play. These have the potential to swing public opinion against Disney Play. Each of these will be discussed in turn.
Government
As mentioned in Chapter One, net neutrality is a hot issue for streaming companies and has the potential to majorly impact Disney Play and the industry’s growth.
Content Competition in the U.K.
Surprisingly, the United Kingdom has turned regulations into threats because they aren’t fond of the competition that American companies have on British content.
“The BBC's director general, Tony Hall, will call for tougher measures against video streaming platforms such as Netflix Inc., as regulators face pressure to level the playing field between streamers and traditional broadcasters. Hall is expected to discuss competition rules, advertising, taxation, content regulation and terms of trade as they apply to U.K. companies versus streaming giants at the Royal Television Society's London conference.”
BBC revealed frightening facts that “funding for its U.K. services had fallen 18% in real terms since 2010 as a result of British public service cuts, and that it was losing younger viewers to platforms such as YouTube.” The U.K. is fighting back through regulation because the funding for traditional television is being lessened. This BBC statistic is dangerous to Disney Play’s implementation in the U.K. because Disney Play’s target audience is children, therefore, stealing even more of the “younger crowd” that is already ditching traditional U.K. television.
Vinjeru Mkandawire. The Week Ahead Europe: UK broadcaster to call for tougher regulation of Netflix. SNL Kagan Media & Communications Report, September 18, 2018, Tuesday. https://advance-lexis-com.dist.lib.usu.edu/api/document?collection=news&id=urn:contentItem:5T9F-XV01-F19Y-C1H7-00000-00&context=1516831 . Accessed October 9, 2018.
Advocacy Groups
When working in entertainment there is always the threat that people will take offense to your material. In today’s social media environment this backlash can come quickly. Negative press can go viral and reach millions of people, changing the perception of a company overnight. Social media movements and advocacy groups gain traction and have the potential to cause a company significant damage.
Controversy can take many forms: racist, sexist, and other insensitive content is a hot social issue today that is continually in the news. Entertainment producers must be ready to face potential controversy to their content. Streaming services have seen this already.
The release of “13 Reasons Why” caused several censorship and suicide prevention advocacy groups to attack Netflix. In return, Netflix worked with the groups to provide external guidance. “Members of the production team said they consulted with mental health professionals extensively while making the series and provide suicide prevention resources and information on crisis hotlines in more than 35 countries on the website 13ReasonsWhy.info.” Netflix also offered to provide “parental passcodes” for mature content, however, we still have yet to see this implemented.
Disney has shown to be more reserved in their entertainment, but the threat of controversy still exists. The “13 Reasons Why” example shows that when advocacy groups attack streaming platforms, the platform must do something to address it. Disney faced a similar attack when the group “Color of Change” retaliated against the whitewashing and change in the facial structure of Princess Tiana in “Wreck-It Ralph 2.” Disney is working similarly with “Color of Change” to redesign the animation to her original, and culturally appropriate, state from “Princess and the Frog.”
Controversy can also come from the people you choose to hire. Disney recently dealt with this when they fired James Gunn, the popular director of the Guardians of the Galaxy franchise. Years old tweets talking about pedophilia, rape, and other controversial issues surfaced and had no place in Disney’s family-friendly image. The firing did draw some controversy since Gunn was well-liked by co-workers and fans alike. Disney’s actions are similar to those taken by other companies in the industry.
Opportunities with “Color of Change”
It would benefit Disney to partner with the advocacy group, possibly to produce commercial or series content that would celebrate diversity and educate viewers on cultural variance around the world. This may also help Disney’s international relations and overall “global vision.”
Conclusion: Completed later.
All in all, I think you have a solid understanding of the industry, though a couple of sections above need to be reworked (see my comments above). My main concern is presentation using mapping paragraphs and using that as a mechanism to organize your paper so that it can be read quickly be a busy executive. Continue to streamline your writing to be more concise and related to the content. Some sections above talk about issues that should be presented elsewhere.
Disney Play Chapter 2
Competitive Environment
A) Market Life Cycle
The streaming industry is in the
late growth and early maturity stage
of the market life cycle.
This is primarily shown by observing the growth rates of existing streaming services
that
are
plateauing
. Disney Play marketing is
nonexistent due to the predicted launch in
2019
. However,
there are three main avenues used by competing companies that are both appropriate and
beneficial to the industry. These are (1) Physical
Products
associated with entertainment (e.g.,
toys related to films, etc.)
, (2) Social Media and YouTube, and (3) Cross Advert
ising with
Affiliated Networks.
Growth Rates
are Plateauing
The total number of new subscribers every year is declining. This shows that the industry is still
growing but may see a plateau in the near future. As shown in the charts below, leaders in the
streaming industr
y have continued to experience substantial growth each year, though they have
all reported decreased percentages of new users. These percentages are projected to fall in the
coming years as well.
Disney Play Chapter 2
Competitive Environment
A) Market Life Cycle
The streaming industry is in the late growth and early maturity stage of the market life cycle.
This is primarily shown by observing the growth rates of existing streaming services that are
plateauing. Disney Play marketing is nonexistent due to the predicted launch in 2019. However,
there are three main avenues used by competing companies that are both appropriate and
beneficial to the industry. These are (1) Physical Products associated with entertainment (e.g.,
toys related to films, etc.), (2) Social Media and YouTube, and (3) Cross Advertising with
Affiliated Networks.
Growth Rates are Plateauing
The total number of new subscribers every year is declining. This shows that the industry is still
growing but may see a plateau in the near future. As shown in the charts below, leaders in the
streaming industry have continued to experience substantial growth each year, though they have
all reported decreased percentages of new users. These percentages are projected to fall in the
coming years as well.