It is not a secret that the world’s biggest artists and brands today use human co-writers, ghost producers, mixers, engineers, A&Rs, and other professionals to help them translate their emotions and stories into songs. But what if artists and producers could train an AI system to replicate their emotions, story, or whatever else they want to create into a fully-produced, voiced, mixed, and mastered release-worthy song?
Combined subscription cancellations across 10 leading subscription-based video-on-demand (SVOD) services rose by 14% in Q3 2022 in comparison to both Q2 and Q1, according to Antenna. More than 32 million subscriptions were cancelled across the tracked services in Q3, compared to 28 million in each of the two previous quarters.
Iger is responsible for Disney’s all-in embrace of streaming, and the launch of its marquee service, Disney+, but he acknowledged the measurement of success has changed. Wall Street investors now focus on profitability, not merely subscriber gains. “Instead of chasing (subscribers) with aggressive marketing and aggressive spend on content, we have to start chasing profitability,” Iger told an employee town-hall meeting.
The world’s biggest record labels and streaming services are not making excessive profits at the expense of artists struggling to make a living from the digital music revolution, a long-running investigation by the UK competition watchdog has concluded. The Competition and Markets Authority said artists’ concerns about low returns were understandable, but intervening in the market would be unlikely to help.
Does Iger pull back on the promises to Wall Street both he and Chapek made of reaching break-even on streaming spending by 2024? Does he repeal Chapek’s projection of up to 260 million subscribers by then? Should the company sell more projects to other outlets, or make fewer shows for its streaming services? For that matter, is streaming still the future of the company?
World of Women confronts the limits of selling cartoon avatars on the blockchain after the crypto bubble burst. It was still summer, but “crypto winter” had descended—bitcoin and other cryptocurrencies had collapsed, wiping out some two trillion dollars in value since crypto’s market peak, in November, 2021. N.F.T. trading volume had fallen by more than ninety per cent since January. Selling cartoon women on the blockchain was no longer a sustainable business model.
The hot new trend in tech circles comes with thorny legal and ethical challenges. . Typing in “a dragon in the style of Greg Rutkowski” will churn out artwork that looks like it could have come from the forenamed digital artist who creates fantasy landscapes. Rutkowski gets no financial benefit for that, even if the generated image is used for a commercial purpose, something the artist has publicly complained about.
Despite some of the realities for niche indie-released music, the founders of New York-based indie label Mom + Pop remain optimistic. Rather than harking back to an era gone by, Michael Goldstone and Thaddeus Rudd wholly accept the world they are currently operating within. “There are platforms out there, exposing music to so many people, across all genres and all ages, in a different form to what we might have ever expected,” says Goldstone.
The faltering of Disney Animation’s $135M production Strange World with a paltry $28M global start, and the bright spot of Netflix’s experiment with Knives Out 2 over the holiday has prompted questions about what’s ripe for streaming and what’s right for theatrical. The answer is both are ripe for theatrical, and Netflix is leaving massive monies on the table.
Spurred by FTX’s collapse and the resulting contagion spreading to other companies, the icy crypto bear market is only getting colder—and the NFT market has lost considerable steam since earlier this year. Even so, some “blue chip” Ethereum NFTs still command sizable prices, as evidenced by today’s sale of a Bored Ape for just shy of $1 million.