According to a new analysis of official fiscal numbers, Universal Music Group, Sony Music Group, and Warner Music Group jointly generated $22.9m, on average, every 24 hours in 2019.
The streaming business is big business. That isn’t news, per se, but it is often hard to quantify what constitutes success on most streaming platforms. Some artists consider reaching one-million plays on any song a significant milestone. In contrast, others may see it as a disaster, and those varying perspectives make the entire world of streaming confusing to most consumers. What is, for lack of a better description, good?
Money is a different topic. Everyone agrees that making a million dollars in ant amount of time is a good thing, but making that much per hour? That’s practically unbelievable.
Our friends at MusicBusinessWorldwide have been analyzing the official fiscal numbers of major record labels, and in doing so, they stumbled across a fantastic data point. Universal Music Group, Sony Music Group, and Warner Music Group jointly generated $22.9m, on average, every 24 hours in 2019.
If we look at the last quarter of 2019, things get even crazier.
According to MBW’s number-crunching of corporately-reported recorded music numbers, Universal’s artists and labels generated $1.02bn from streaming in calendar Q4 2019; Sony’s generated $669m; and Warner’s generated $589m. In total, that meant the majors’ recorded music divisions collectively turned over $2.26bn from streaming in the fourth calendar quarter, which equates to $24.8m per day, or $1.03m every single hour.
Streaming revenue growth for Warner, Sony, and Universal year over year
Crazier still is the fact that these numbers are likely to continue growing in 2020. Growth in the streaming marketplace is slowing as the market saturates. Still, there remain many demographics and countries that streaming platforms are hoping to convert to subscribers in the years to come.
Where will it stop? More importantly, what will the artists making these numbers possible see from these massive revenue streams? We don’t have answers at this time, but we hope to have more information soon.
YouTube, one of the most popular destinations for music discovery and consumption, is citing huge 2019 payouts to change the conversation around its notoriously low royalty rates.
In a quarterly blog post released this week, YouTube CEO Susan Wojcicki praised her company’s relationship with the music industry. “YouTube offers twin engines for revenue with advertising and subscribers,” she wrote. “Paying out more than $3 billion to the music industry last year from ads and subscriptions.”
YouTube recently announced $15.5 billion in ad-supported revenue for 2019. Before you start believing the company gave nearly 20% of that money to the music business, take a moment to read Wojcicki’s comments again. The $3 billion paid to the industry is from a combination of ads and subscriptions (meaning YouTube premium subscriptions, which now number above 20 million worldwide).
That said, the $3 billion mentioned in Wojcicki’s report is pretty stunning. According to calculations published by Music Business Worldwide, the 2019 payouts account for one-quarter of YouTube’s lifetime payments to the music industry. MBW believes YouTube has overtaken or is close to overtaking Apple Music as the industry’s second-largest digital partner (behind Spotify).
These numbers are huge, but they are nothing compared to the video consumption rates YouTube has shared in recent years. In 2018, YouTube claimed that “more than 1 billion music fans come to YouTube each month to be part of music culture and discover new music.” In June 2019, a report came out claiming that music videos were watched just under two trillion times on YouTube in 2018, representing 20% of total views on the platform. $3 billion is a lot of money, but is it enough to represent one-fifth of the total consumption on the platform?
Wojcicki also shared the following insights about YouTube’s evolving relationship with the music business:
We’re also partnering with artists to support and amplify their work through every phase of their career. Dua Lipa was in YouTube’s first-ever Foundry program — our initiative to develop independent music acts. Justin Bieber and Billie Eilish have built massive global audiences by directly connecting and engaging with fans on YouTube. At just 18 years old, Billie is now one of the world’s biggest stars with five recent Grammy wins. And from its early days, YouTube has been a home for artists who found creative ways to use the platform to help expand their reach. In 2005, OK Go had one of the first viral hits with their music video, “A Million Ways.” Fans posted their own versions of the boy band-inspired choreography, and OK Go decided to make it official with a dance challenge on YouTube. We continue to see unknown artists make it big with a single viral hit. Last year, Lil Nas X’s “Old Town Road” became a YouTube phenomenon and the longest-leading single atop the Billboard Hot 100.
YouTube has long been criticized for its notoriously low royalty rates on views, but the numbers from 2019 show that image may be changing for the better. We’ll bring you more on the platform’s relationship with the industry as soon as additional details become available.
Spotify streaming royalties often upset artists, but how many plays does a musician need to live above the poverty line? We did the math.
The streaming wars are raging on. Spotify has more than one hundred million monthly subscribers worldwide, which places the platform far ahead of its peers, but Apple Music and Amazon Music are gaining millions of new users with each passing month. Whether or not the global economy can sustain the numerous streaming platforms won’t be decided for some time, but whether or not artists can survive the streaming economy is a hot topic that needs to be addressed.
Any industry expert will tell you that musicians today have it easy. There are more avenues for exposure than ever, recording music is (or can be) cheap, and an increasing number of artists are finding success outside the traditional label system. It is theoretically possible for anyone with access to a laptop and the ability to convey a melody to become a digital sensation who has fans all over the world without the aid of big label money (though, to be fair, big label money still makes a sizable difference).
Streaming payouts are a relatively new revenue stream for musicians. No one is suggesting artists survive on streaming royalties alone. Still, with physical media sales bottoming out and competition for tour revenue increasing, the money made from streaming can have a significant impact on an artist’s ability to develop, not to mention sustain themselves.
Still, every other week someone goes viral online and builds an entire career of the profits made from streaming royalties. The majority of these overnight sensations are young and without families to support, but they still have the cost of living expenses that need to be met. That got us to thinking: How many streams does it take to survive on streaming revenue alone?
According to the Assistant Secretary for Planning and Evaluation (ASPE), the poverty line for single-person households is $11,770. If we ignore how that figure would be hard for anyone to live on in a major city (and most mid-size cities), then we can round up to $12,000 and use streaming revenue calculators to figure out how many Spotify streams someone would need to sustain themselves.
At an average payout of $0.006 per song stream, a musician living in the United States needs 3,000,000 plays annually to have a gross income of $12,000.
Of course, if the artist has a label deal the record company would get paid before the artist. Depending on the amount owed to the label, the artist may need millions of addition plays to see the same amount of income themselves.
But what about people with families? The ASPE puts the poverty line for a family of four (2 adults, 2 children) at $24,250. Using the same average royalty rate, a musician would need 6,062,500 Spotify streams to earn that amount of gross income.
These numbers get much bigger when the musician is part of a larger group. If a band has four members and all four have families where they were the sole source of income, the group would need to generate 24,250,000 Spotify streams to gross enough so each member’s family would be at or above the poverty line.
Again, no one is saying an artist should survive on streaming royalties alone. Some will be able to make it work, especially if they have a large following and low overhead, but most will need to create as many revenue streams as possible to survive. The key to a long career in music today is through the development of a community around an artist and their work that promotes purchasing merch, physical media, and concert tickets. That has always been true, and likely won’t change anytime soon.
In a new call with investors, Spotify revealed continued, if slow, growth.
It’s good to be king. Spotify was the first to make a big splash with music streaming, and their early entry into the marketplace helped propel the Swedish company to the top of the food chain. These days, the term Spotify has become synonymous with streaming. “You can find them on Spotify” means, “you can stream their music online.” That’s an excellent place to be, and the latest stats for the music company show the good times are far from over.
Spotify held its Q2 earnings call with investors earlier this week. During the update, the company announced it had passed 232 million monthly active users, up 29% since this time last year. Spotify also boasts 108 million paid subscribers, up 31% year over year. An infographic detailing all the latest developments at the company was also released. Check it out:
The biggest announcements of Spotify’s Q2 earnings report.
Apple Music is Spotify’s closest competitor. At the beginning of July, Apple Music announced it had just surpassed the 60 million subscriber mark, which leaves Spotify with a substantial lead. However, the new data from Spotify reveals a slowing adoption rate for subscribers. The cause for that slowdown is not clear, but market saturation and increased competition are two likely factors contributing to the change.
Spotify has a lot of developments on the horizon that the company hopes will raise the growth rate, including additional podcast content and a device for automobiles that will eliminate the need for terrestrial radio in vehicles. You can learn more about the device, which has been dubbed the ‘car thing,’ in the Music Biz News clip below.
The Nielsen mid-year music report is here, and it shows the reign of streaming services over the industry is far from over.
Nielsen is widely considered to be the authority on the business of entertainment, and their latest mid-year report reveals the music industry is in good standing. The recently published data found the first half of 2019 shattered previous 6-month records with more than 507 billion on-demand combined music and video streams and milestones led by singles and albums from Ariana Grande, Billie Eilish, Halsey, Khalid, BTS, and Bad Bunny.
The fall is widely considered the busiest time of the year for music, so it is likely the total on-demand combined streaming numbers will be equal to, if not greater than the statistics above. If true, that would mean 2019 is on pace to be the first year where streams of recorded music surpass one-trillion plays in the United States and Canada.
To date, many of this year’s most significant music moments were aided by exposure in popular films. The success of A Star Is Born, for example, gave Lady Gaga and Bradley Cooper’s smash hit duet “Shallow” a major boost following the Acadamy Awards. The song has earned more than 684,000 track downloads, 316 million on-demand song streams, and over one-billion audience impression on the radio to date.
Nielsen sites other areas of entertainment as playing a very influential role in the rise of the year’s most popular songs. The music featured in film and television continued its upward trend from 2018 when soundtracks accounted for two of the year’s top 10 biggest sellers (The Greatest Showman and Black Panther: The Album). The impact good placement has on songs can be understood by looking at the success of Post Malone and Swae Lee’s “Sunflower” ( 47.6 million U.S. streams), which appeared in the equally popular animated film Into The Spiderverse, or through the continuing success of rock biopics such BohemianRhapsody and Rocketman.
There is a wide range of Global pop genres that made a sizeable impact in the U.S as well, including K-Pop and Latin. K-Pop’s global domination, which reached record peaks in 2018, continued to reach new audiences.
230,000 equivalent album units earned for BTS’ Map of the Soul: Persona, a career-best for the K-Pop group, during the week ending April 12.
BTS and Halsey’s “Boy With Luv” reached 125 million on-demand streams so far this year, including spikes after their performance at the Billboard Music Awards on May 1.
18.6 million first week on-demand streams for BLACKPINK’s “Kill This Love,” which broke the band’s own record for highest-charting single by a K-Pop girl group on the Billboard Hot 100.
Nielsen Music’s Mid-Year 2019 Charts:
2019’s Mid-Year Top 10 Albums (Based on Overall Equivalent Album Units)
1. Ariana Grande, Thank U, Next (1,552,800) 2. Billie Eilish, When We Fall Asleep, Where Do We Go? (1,304,000) 3. Khalid, Free Spirit (929,000) 4. Lady Gaga & Bradley Cooper, A Star Is Born (Soundtrack) (889,000) 5. A Boogie Wit da Hoodie, Hoodie SZN (810,000) 6. Post Malone, beerbongs & bentleys (756,000) 7. Drake, Scorpion (718,000) 8. Queen, Bohemian Rhapsody (Soundtrack) (705,000) 9. Juice WRLD, Death Race for Love (675,000) 10. Jonas Brothers, Happiness Begins (663,000)
2019’s Mid-Year Top 10 Selling Albums
1. Lady Gaga & Bradley Cooper, A Star Is Born (Soundtrack) (404,000) 2. Jonas Brothers, Happiness Begins (374,000) 3. Billie Eilish, When We All Fall Asleep, Where Do We Go? (343,000) 4. BTS, Map of the Soul: Persona (343,000) 5. Backstreet Boys, DNA (299,000) 6. Queen, Bohemian Rhapsody (Soundtrack) (253,000) 7. Ariana Grande, Thank U, Next (228,000) 8. Soundtrack, The Greatest Showman (181,000) 9. P!nk, Hurts 2B Human (158,000) 10. Lauren Daigle, Look Up Child (154,000)
2019’s Mid-Year Top 10 Selling Vinyl Albums
1. Queen, Bohemian Rhapsody (Soundtrack) (61,000) 2. Queen, Greatest Hits (49,000) 3. Billie Eilish, When We All Fall Asleep, Where Do We Go? (47,000) 4. Soundtrack, Guardians of the Galaxy: Awesome Mix Vol. 1 (33,000) 5. The Beatles, Abbey Road (33,000) 6. Pink Floyd, The Dark Side of the Moon (32,000) 7. Bob Marley & The Wailers, Legend (30,000) 8. Fleetwood Mac, Rumours (29,000) 9. Michael Jackson, Thriller (29,000) 10. Billie Eilish, Don’t Smile at Me (28,000)
2019’s Mid-Year Top 10 Selling Digital Songs
1. Lil Nas X, “Old Town Road” (958,000) 2. Lady Gaga & Bradley Cooper, “Shallow” (684,000) 3. Post Malone & Swae Lee, “Sunflower (Spider-Man: Into the Spider-Verse)” (488,000) 4. Ariana Grande, “7 Rings” (420,000) 5. Halsey, “Without Me” (388,000) 6. Post Malone, “Wow.” (381,000) 7. Jonas Brothers, “Sucker” (357,000) 8. Lauren Daigle, “You Say” (322,000) 9. Taylor Swift featuring Brendon Urie, “Me!” (322,000) 10. Ava Max, “Sweet But Psycho” (321,000)
2019’s Mid-Year Top 10 On-Demand Song Streams (Audio and Video Combined)
1. Lil Nas X, “Old Town Road” (1,337,995,000) 2. Post Malone & Swae Lee, “Sunflower (Spider-Man: Into the Spider-Verse)” (850,194,000) 3. Ariana Grande, “7 Rings” (776,696,000) 4. Travis Scott, “Sicko Mode” (623,498,000) 5. Halsey, “Without Me” (599,335,000) 6. J. Cole, “Middle Child” (582,748,000) 7. Post Malone, “Wow.” (582,633,000) 8. Blueface, “Thotiana” (588,277,000) 9. Marshmello & Bastille, “Happier” (528,640,000) 10. YNW Melly, “Murder On My Mind” (498,806,000)
2019’s Mid-Year Top 10 On-Demand Audio Streams
1. Lil Nas X, “Old Town Road” (596,113,000) 2. Post Malone & Swae Lee, “Sunflower (Spider-Man: Into the Spider-Verse)” (458,470,000) 3. Ariana Grande, “7 Rings” (433,904,000) 4. Post Malone, “Wow.” (416,231,000) 5. J. Cole, “Middle Child” (395,872,000) 6. Meek Mill featuring Drake, “Going Bad” (337,025,000) 7. Halsey, “Without Me” (319,879,000) 8. YNW Melly, “Murder On My Mind” (287,219,000) 9. Lil Baby & Gunna, “Drip Too Hard” (284,613,000) 10. Travis Scott, “Sicko Mode” (276,802,000)
Spotify has changed the music business in many ways, including a few that you may have never considered.
There are many streaming services in the world, but none of them can compare to the size and influence of Spotify. With more than one-hundred million subscribers, the Swedish based company has nearly double the audience of its closest competitor (Apple Music). The company has grown so popular, in fact, that it has become a kind of shorthand for streaming music. People say, “Do you use Spotify,” instead of, “do you subscribe to a streaming music platform?”
Spotify has revolutionized how artists make money from their music. The company pays, on average, between $0.006 and $0.0084 per song stream. A single stream is counted when the listener has played thirty-seconds of the track. If the listener finishes the song, that’s great, but it doesn’t change the amount of money the stream earns for the artist.
With this in mind, it’s easy to understand why many industry experts claim Spotify has changed the sound of music. The ‘Spotify Sound,’ as it has been dubbed, refers to artists who waste no time getting to the heart of their song. The days of lengthy introductions or slow-burning tracks has been replaced by immediate choruses or other attention-grabbing tactics.
Another element of the ‘Spotify Sound’ is the length of a song, which again is a result of the company’s approach to compensating talent. If a play is counted after thirty-seconds of listening time, then artists are not incentivized to make longer songs. The more financially informed approach would be to record more material that is shorter, thus earning more money. A five-minute song earns as much as a two-minute song, but listeners can play multiple two-minute songs in the same amount of time, which means they can earn more money.
A glance at the Spotify and Billboard charts shows the impact of the company’s influence. “Old Town Road,” which has spent three months topping charts, is less than two minutes in length. The remix, which helped catapult the song into the pop stratosphere, runs just over two and a half minutes long.
Artists who have adapted to the influence of the ‘Spotify Sound’ are seeing success on the platform. In a recent digital feature from PBS, two members of the group Frenship credited their efforts to match the changing trends for the success they found with their hit “Capsize.” Check it out:
Other platforms have different rules for what counts as a play. Some services require a certain percentage of the song to be enjoyed before a play is counted, while others have a higher minimum for time spent listening. Both methods of counting plays encourage the same thing. Artists should make shorter, catchier songs if they want to earn big from streaming services.
Despite being one of the lowest paying streaming platforms, artists worldwide can see their careers change overnight through YouTube.
The study by Pex showcases categories on YouTube that are dominant drivers of growth and engagement for the platform. The study examined the performance of publicly available videos on YouTube for a period ending December 31, 2018. The results reveal that YouTube has over 5.2 billion videos, 1 billion hours of content, and 29 trillion views.
To put that figure into perspective, it would take 41,666,667 days of nonstop watching to view everything that was available on YouTube when the study was completed. Even more content is available now.
According to the data Pex shared, YouTube saw around 621 hours of content uploaded every minute in 2018, or roughly 10 hours of content every second. That’s even higher than the 500-hour estimate shared by CEO Susan Wojcicki earlier this year. Unsurprisingly, the length of these videos has increased each year since the restriction lifted.
Youtube videos are getting longer, and ads are largely to blame.
The reason for the change of the average video length is likely the result of YouTube’s advertising deal with creators. YouTube shares a portion of the revenue for ads shown during the video with that clip’s creator, but the service limits how many ads can be displayed based on the length of the accompanying video. Longer videos, therefore, equal more ads, which means more money for creators (even if their viewers are frustrated).
Gaming is the fastest-growing category on YouTube thanks to the popularity of services such as Twitch, but music still has the lead.
The average length of a music video on YouTube is 6.8 minutes, with an average of 2,411 views per minute and 16,397 views per video. That’s compared to the gaming category’s average of 24.7 minutes per video with only 121 views per minute and 2,987 views per video.
Music is the category with the shortest videos, but it generates the most views per average video. The music category received 20% of all total views on YouTube last year — but makes up only 5% of YouTube’s content. Music and Entertainment are the two YouTube categories that deliver the highest returns, but YouTube doesn’t want you to know that because both entertainment and music videos often require the company to pay royalties. YouTube does not want to share revenue anymore than it needs to, which is likely why the streaming giant has been investing heavily into original content.
The less YouTube needs major labels and movie studios, the better, at least for YouTube.
Streaming has changed the way artists make money, but that doesn’t mean the biggest stars of today have fallen on hard times.
When its the last time someone told you about buying an album? When is the last time someone who wasn’t a collector (vinyl, cassette) told you they bought an album? Unless your inner circle is filled with devoted, old school music fans the answer is probably not anytime in the recent past. We live in the age of digital, which means we live in the streaming era, and that evolution has changed the ways musicians make money.
Depending on who you ask, this is a good and bad thing. Newer artists, especially in the world of rock and metal, claim streaming has made it harder to earn money because fewer people are willing to pay $5 or $10 to purchase their music outright. On the other hand, artists who create strong singles have found that the ease of access that Spotify and similar platforms provide has lowered the barrier to discovery. Those artists still make far less per stream than they would if each play was tied to a sale, but high stream counts can prove more beneficial than sales over time.
Whatever the struggles for newer artists may be, those talents at the top of the industry hierarchy are continuing to rake in plenty of cash in the age of streaming. Understanding the math behind the streams is often a struggle, but Billboard recently uncovered the top 5 streaming earners of 2019 so far, as well as a rough estimate of just how much money they’ve brought in for their label and team.
1. ARIANA GRANDE Total label streaming revenue YTD: $12.08M Total audio and video on-demand streams YTD: 2.83B
2. DRAKE Total label streaming revenue YTD: $11.29M Total audio and video on-demand streams YTD: 2.58B
3. POST MALONE Total label streaming revenue YTD: $10.90M Total audio and video on-demand streams YTD: 2.63B
4. JUICE WRLD Total label streaming revenue YTD: $8.38M Total audio and video on-demand streams YTD: 1.92B
5. BILLIE EILISH Total label streaming revenue YTD: $7.93M Total audio and video on-demand streams YTD: 1.89B
Billboard’s estimates are based on Nielsen Music data and other information as of the week ending April 18. It’s a month later now, but the top five most likely remains the same, only with larger play counts.
It’s important to note that the second figure under each artist’s name combines song and video streams. Audio streams generate more revenue than video streams, but YouTube is an incredibly popular platform for music.
The figures above cover the sound recording royalty that the record label collects and doesn’t include publishing.
The latest data point from Spotify’s founder reveals a hard truth about competition in the streaming age.
Spotify Founder and CEO Daniel Ek spoke with investors this week during a quarterly earnings call to discuss the latest developments at the streaming giant. Amongst the many tidbits of information shared, including the companies’ recent success crossing the 100-million paid user count, was the fact that nearly 40,000 new songs are added to the service each day. To be specific, Ek said:
“with more than 50 million tracks now available on Spotify, and growing by close to 40,000 daily, the discover[y] tools we’re building have never been more important to consumers and artists alike.”
Daniel Ek, speaking to investors on April 29, 2019
Let’s put that figure into perspective. Forty thousand tracks per day equal about 280,000 songs a week or around 1.2 million tracks per calendar month. In a year, this volume would add up to a whopping 14.6 million.
Therefore, at its current rate, every three-and-a-half years, Spotify will add over 50 million tracks to its library. Considering the platform currently boasts a catalog of roughly 50 million songs total, the current growth rate would double Spotify’s music library by 2022, and it could happen sooner than that.
To look at it another way, let’s accept that the average song is about three minutes long, or 180-seconds. With 40,000 songs added every day, Spotify is creating roughly 2,000 hours worth of new competition for clicks each morning.
If you listened to every song added to Spotify in a single day without taking breaks it would take you a little more than 83 days to hear everything. That’s almost three months of music being added to one streaming service each day.
Daniel Ek also added that the “number of creators that are engaging directly with Spotify’s platform continues to increase, growing to over 3.9 million” in the first three months of 2019. That figure refers to musicians and podcasters, both of whom are contributing to the overwhelming amount of content being added to the platform each day.
Artists reading this now may find themselves in a panic. After all, how can anyone adding music to the platform with a promotional juggernaut behind them hope to stand out in a sea of music far too large to ever be consumed in full? For them, Ek offers this data point:
“In Q1, we saw a 20% increase in the number of artists streamed on our platform year-over-year and a 29% increase in the number of artists with at least 100,000 listeners.
Daniel Ek, speaking to investors on April 29, 2019
The best chance most artists have of being discovered on Spotify is through appearances on popular playlists. We ran the advice of one playlisting professional on our blog last week, and we plan to share more in the weeks to come.
If Spotify’s catalog is growing at this unprecedented rate, it’s highly likely that the same can be said for Apple Music and Amazon Music, as well as their smaller competitors. Streaming may be helping the music business recover from its low point, but it’s certainly not helping developing artists make careers out of their work in the same way physical media sales once did. At least, not yet.
The streaming war is far from over, but Spotify’s lead is growing with each passing day.
People are willing to pay for music. As funny as it sounds to hear that now, there was a time shortly after the dawn of the millennium where the industry wasn’t sure if that was still the case. The rise of digital piracy lead many to believe people were no longer willing to shell out cash to support recorded music, but premium streaming subscription services such as Spotify have proven that notion false.
This week, Spotify announced it has finally crossed the 100-million paid user mark during the first quarter of 2019. The streaming giant, which has long been the market leader for music consumption, added four million premium users in the three months ending March 31, a 4 percent spike quarterly and 32 percent over the previous year’s quarter. Ad-supported monthly active users now total 123 million, an increase of 6 percent on the quarter and 21 percent year over year. Overall, total monthly active users rose to 217 million in Q1, up 5 percent from the previous quarter and 26 percent year over year.
Spotify’s latest figures place the company’s total subscriber count at double that of its closest competitor, Apple Music. Apple CEO Tim Cook said in January that Apple Music hit 50 million subscribers at the end of last year.
Apple Music does, however, have a higher paid user count in the United States, which is the world’s largest market for music consumption. Apple Music is also growing faster in the US than Spotify. That growth may not be enough to overtake Spotify on a global scale, but it does show consumer preferences for streaming services are not yet set in stone.
Spotify’s advantage in the ongoing streaming war is its free tier. Apple Music requires a paid subscription, but Spotify allows over one-hundred million people a month to access its music library through a free tier that inserts advertisements in between songs.
Amazon Music, Deezer, Tidal, and other streaming services have subscription numbers far below that of Spotify and Apple Music. So much so, that bringing up their paid user count in this conversation feels pointless. Still, with the right innovations, it is possible for anyone to rise through the ranks and become the next leading streaming service. After all, there was a time when it seemed like Netflix would reign over video streaming forever, but the recent news of Disney+ and its low monthly cost has made many to believe the service is in jeopardy of losing its position as the market king.
