MIDiA: Netflix needs to recalibrate engagement, revenue mix

On the back of the SVOD service falling short of its quarterly membership target, leading to a 11% drop in its market capitalisation, MIDiA Research believes that the stalling growth and stakeholder jitters could force Netflix to explore advertising.

MIDiA Netflix US Q1 DAU 26July2019

MIDiA’s study, Netflix After Q2 2019: Post Peak or Strategic Reset, examines the challenges mounting against Netflix and how it can address them to regain momentum, specifically looking at how the service may take up advertising,

predicted by a number of sources over the course of the last weeks.

The analyst says that fundamentally the loss of subscribers in the core domestic market — down from 60.2 million to 60.1 million — highlights Netflix’s growing struggles to both expand and retain customers. It adds bluntly that the company has its work cut out to return to growth, especially with the imminent launches of well-funded direct-to-consumer propositions from the likes of

Apple

and

Disney

for the third quarter of Q3 2019.

With Netflix paying subscribers 6% more likely than the average consumer to pay attention to brands that sponsor shows, than those that just have ads, MIDiA believes that Netflix is currently sitting on found revenue if it proceeds with its gate keeper strategy. It adds that despite the current gloom, Netflix could be the right digital platform to integrate dynamic product placement, which would provide non-intrusive ad revenue for the streaming service and provide brands with access to the 26% of Netflix’s valuable paywalled subscriber base who respond favourably to relevant ads.

The

Netflix After Q2 2019: Post Peak or Strategic Reset report

concludes by stating that even though growth is slowing in digitally saturated western markets and emerging markets represent the next big growth phase, but a sophisticated and pragmatic approach to content strategy will be required to ensure return on investment.

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ABI: global pay-TV far from dead

Despite a welter of recent research showing that cord-cutting is accelerating on a global basis, especially in the US, analyst ABI Research expects the overall pay-TV market to grow at a steady pace over the next five years.

Android TV deployment 6AUg2019

ABI Research’s Pay TV Subscribers market data report calculates that despite the increasing numbers of consumers switching from pay-TV services to lower-cost video streaming, the traditional services’ subscriber base will surpass 1.1 billion by 2024. This comes despite the first quarter of 2019 seeing cable, satellite, and IPTV services in the North American region lose more than 1.2 million subscribers.

ABI observed that the impact of over-the-top (OTT) services on the pay-TV market varies from region to region depending on the price points, content choices, and stability of video delivery across different platforms.

A key component of the market dynamics said the analyst was the fixed broadband market which it forecast to exceed 1 billion subscribers at the end of 2019 with fibre-optic broadband access representing more than half of the total subscriber base. Yet despite the increase in home broadband adoption rates because of access to such high-bandwidth platforms, ABI believes that traditional pay-TV services will remain dominant in emerging markets.

Looking at the key elements in operators’ strategies to fend off online, ABI cited the introduction of live streaming services integrated with pay-TV which provide lower cost compared with traditional pay-TV packages and the deployment of

Android-based set-top boxes.

Emerging markets were found to be embracing Android TV STBs to facilitate streaming features to their pay-TV customers.

Airtel

and Hathway from India, and

Telkom Indonesia

were named as leading operators from emerging markets which are deploying Android TV STBs.

“High-speed broadband penetration, along with the availability of multiple streaming services, is driving the declining pay-TV trend. Increasing broadband penetration is, in fact, accelerating the adoption of online video services across different regions,” explained ABI Research industry analyst Khin Sandi Lynn, regarding the

Pay TV Subscribers market data report.

“In addition to investment in content and advanced set-top boxes, investment in efficient analytics solutions are important for customer retention. Analytics solutions based on artificial intelligence (AI) and machine learning algorithms can provide comprehensive insights on content consumption, prediction of churn, etc., which is valuable for content recommendation, improving user interface, and proposing best-fit packages to customers to prevent or reduce subscriber loss.”

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Pay-TV households set for rapid decline

The total number of pay-TV households in the US this year will drop 4.2% to 86.5 million, according to a report from eMarketer.

ooyala 14Dec2017

At the same time, the number of streaming-only households is expected to grow 19.2%. If the rate of decline holds steady, satellite, cable and telco pay-TV services will fall below 80 million households by 2021, while a fifth of US homes will have cut the cord. And, by 2023, the number of pay-TV households in the US will total 72.7 million, with 56.1 million left without a traditional pay-TV package.

However, eMarketer’s cord-cutting totals include those taking up pay-TV operators’ vMVPD/skinny services.

Satellite providers

 like DISH Network and DirecTV will be hit the hardest, losing 7.1% of their household subscriptions this year. Telcos and cable will see declines of 4.6% and 2.4%, respectively.

“As programming costs continue to rise, cable, satellite and telco operators are finding it difficult to turn a profit on some TV subscriptions,” said Eric Haggstrom, eMarketer forecasting analyst. “Their answer has been to raise prices across the board, and it seems that they are willing to lose customers rather than retain them with unprofitable deals.”

Meanwhile, the total time spent watching traditional TV daily is expected to drop 3% to three hours and 40 minutes on average,

eMarketer

 added.

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Ellen MacArthur’s Circular Design Programme seeks 20 million designers to transform global economy

The Ellen MacArthur Foundation aims to make circular design "the new normal’ by persuading 20 million designers to help transform the global economy from a linear to a circular model.

The non-profit organisation is launching an initiative called the Circular Design Programme, with the intention or persuading millions of designers to stop creating products that end up as landfill.

The foundation has calculated that by 2025 there will be 160 million designers and creative decision makers in the world, representing five per cent of the global workforce of 3.4 billion people.

"They will design everything around us by 2025, from the clothes we wear to the buildings we live and work in, to systems that deliver food and mobility," the foundation says in the executive summary of its Circular Design Programme, which has been shared exclusively with Dezeen.

"Our ambition is to engage these five per cent and make designing for the circular economy the new normal by 2025."

Designing for circular economy "one of the biggest creative challenges of our time"

The programme, which is still being developed, aims to persuade 20 million of these designers to adopt circular design in their work, and to make a further 60 million designers aware of circularity.

These numbers are based on tipping-point theory whereby, in order to drive systemic change, half of a given target audience needs to be open to new ideas while at least 10-20 per cent of the audience needs to adopt those ideas.

Ellen MacArthur Foundation launches Circular Design Programme
Ellen MacArthur Foundation has launched its Circular Design Programme

Designers are vital to ending today’s linear economy, in which 80 per cent of all materials are wasted, the foundation believes.

"Today most [stuff] is designed for a linear model," says the Circular Design Programme’s executive summary. "In industries such as fashion and plastics packaging, products and systems are designed such that upwards of 80 per cent of material flows are destined for landfill, incineration or even leakage into natural environments."

"Designing for a circular economy is one of the biggest creative challenges of our time. We need a new approach and an orchestrated global programme to support designers and creators."

Foundation encourages designers to adopt circular practices

Circular design follows the principles of the circular economy, which involves eradicating waste and pollution, reusing resources and enhancing natural systems.

The foundation aims to engage designers through a range of initiatives including sharing examples of successful circular design, hosting awards, events and exhibitions, and providing tools to help creatives adopt circular practices.

To help spread the message it has added a LinkedIn community, a #circulardesigners Instagram hashtag and a learning hub in addition to the Circular Design Guide it published in association with design studio IDEO.

The foundation arrived at the figure of 160 million worldwide designers by studying data from over 10 sources, including the World Bank, the OECD and the UK’s Design Council.

It defines designers as someone who "creates with a clear intention, is focused on meeting user needs and applies design thinking mindsets and methods such as empathy, iterative approach etc." This includes people who design products, services and systems and "is regardless of their job title and formal education."

"Our mission is to accelerate the transition towards a circular economy"

The Ellen MacArthur Foundation was founded in 2009 by British former round-the-world sailor Ellen MacArthur, in order to help the global economy shift towards sustainable principles.

"Our mission at the Ellen MacArthur Foundation is to accelerate the transition towards a circular economy," said Simon Widmer, circular design lead at the foundation. "And when we look at the role of design, we see that designers play an absolutely essential role in that transition."

Having worked with sectors including the plastics industry and fashion, MacArthur launched her call for designers to engage with her mission in an interview with Dezeen in June this year.

"The design fraternity is absolutely a target for us, because designers build the world," she told Dezeen. "If you think about young people going through education today, if they want to be the designers of the future, what an amazing opportunity to be part of building a restorative, regenerative future; a future where we can recover materials and feed them back into the economy."

She added that her foundation’s research showed that the circular model was potentially more profitable for businesses than the linear model.

"Every single time we’ve produced a report, it’s been overwhelmingly positive," she said. "Linear is worth less than circular."

Main image is by Martin Allen.

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‘the modernist life’ by debaixo do bloco is a short film capturing the aesthetics of brasilia

the piece shows a city where modern architecture is present not only in monumental areas, but also in everyday homes.

The post ‘the modernist life’ by debaixo do bloco is a short film capturing the aesthetics of brasilia appeared first on designboom | architecture & design magazine.

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Carnegie Mellon Researchers Push Wearable Tech Forward With Smart Patches That Wear Like a Band-Aid

Wearables hold a lot of promise but most come in the form of uncomfortable gadgets or intrusive implants. Researchers at Carnegie Mellon’s Morphing Matter and Soft Machines Labs have joined forces to create a new type of wearable tech that can be applied to the skin like a band-aid, and used for a variety of medical, fitness, or lifestyle purposes. "We envision a future where electronics can be temporarily attached to the body, but in functional and aesthetically pleasing ways," the team explains in a report that was presented at the CHI Conference on Human Factors in Computing Systems.

"We took real-world inspiration from medical bandages—easy to attach, small enough to be unobtrusive, and customized to fit other parts of the body," they explain. "The ultimate objective of the ElectroDermis fabrication system is to provide a design tool and fabrication method to support a process where wearable electronics can be applied to the body from a single, peel-off step, just like a bandage. This method would allow electronics to easily access locations on the body that were previously difficult to access, time-consuming to design for, or even not possible using existing methods."

The challenge has been finding a way to make wearables—which contain a range of electronic components—flexible. The Electrodermis team made the wiring from copper sheets cut in a wavy form to make them bend more easily. "Specifically, we achieve high functionality by discretizing rigid print circuit boards into individual islands," the report explains. "The islands are then assembled on a spandex-blend fabric to increase robustness and reusability." They also devised a multilayered fabrication method—fabric over TPU film, copper trace, z-tape, electrical components, and skin adhesive—which affords the wearer full mobility and makes it possible for the piece to be reusable, as the adhesive layer can simply be replaced.

As part of their report, the researchers outlined a series of potential use cases, which they hope designers and practitioners can expand upon: a temperature-sensing mask that can be placed on the forehead; a patch you can wear on your ear that detects your pulse; a "necklace" patch that covers your neck and detects all the food you consume; a motion-tracking knee wrap; and a bandage that tracks how the wound is healing and lets you know via color-coded LED lights that change from red to yellow, to green.

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People-Centered (Not Tech-Driven) Design*

People-Centered (Not Tech-Driven) Design*

Published in: Norman, D. (2018). People-centered (not tech-driven) design. In T. Pappas (Ed.), Encyclopaedia Britannica, Anniversary Edition (pp. 640-641). Chicago: Encyclopaedia Britannica.

How did we reach the point where our technology is more important than people? And most importantly, how can we reverse this trend in order to ensure that our technologies are designed with people in mind, more humane, more collaborative, and more beneficial to the needs of people, societies, and humanity. To me, these are some of the foremost issues facing the world.

We are in a period of major changes in technology, impacting almost all areas of human lives. Increases in computational and communication power, the advent of small, tiny sensors, new ways of making physical parts, new materials, and powerful new software tools (including, of course, artificial intelligence) are changing education, work, healthcare, transportation, industry, manufacturing, and entertainment.

The impact of these changes upon people and society is both positive and negative. Although the positive impacts are celebrated, the negative impacts are often treated as unfortunate but unavoidable side effects. Suppose instead we adopt the view that these negative side effects are so severe that we need a different framework for designing our world.

Today, much of our technology is designed through a technology-centered approach. Basically, the technologists–and technology companies–invent and design what they can but then leave many tasks that could be done by machines to people instead, thereby forcing us to work on the technology’s terms. As a result, workers often are required to do things people are known to be bad at. And then, when they do these jobs badly, they are blamed–“Human error” is the verdict. No, this is not human error: it is inappropriate design.

Want some examples? Consider any boring, repetitive task such as working on an assembly line, entering numbers into a table, or driving a motor vehicle for long periods. Each of these activities requires continual attention to detail, high accuracy, and precision–all things that people are particularly poor at. Machines are well equipped for these activities. Alas, these tasks are required of us because of the way technology has been designed. People are forced to make up for the deficiencies in the technology, which forces people to serve the requirements of machines.

The result? Human error is blamed for over 90 percent of industrial and automobile accidents. It is the leading cause of aviation accidents, and medical error is reported to be the third-largest cause of death in the entire United States.  Horrifying? Yes, but why do we label it “human error”? It is design error.

If human error were responsible for five percent of fatalities, I would believe it. But when it is said to be 90 percent, clearly something else must be wrong. Accident review committees often stop prematurely when they find that someone did some inappropriate action. The review stops there, satisfied that the cause has been discovered. Unfortunately, that misses the real cause: Why did the person make the error in the first place? Invariably, if the investigation continues, there are multiple underlying causes, almost always a result of poor design of either the equipment, the training, or the procedures.

There has to be a better way. And there is: We must stop being so technology-centered and become human-centered. Alas, this is easier said than done. Technology so dominates our lives that it is very difficult to reverse this deeply ingrained, historical outlook.

I practice what is called people-centered design, where the work starts with understanding people’s needs and capabilities. The goal is to devise solutions for those needs, making sure that the end results are understandable, affordable, and, most of all, effective. The design process involves continual interaction with the people who will use the results, making sure their true needs are being addressed, and then continually testing through multiple iterations, starting with crude but informative prototypes, refining them, and eventually ending up with a satisfactory solution.

Human-centered design has enhanced the ability of people to understand and use many complex devices. Early airplane cockpits had numerous displays and controls, often so poorly thought out that they contributed to error–and in some cases, deaths. Through the application of human-centered design approaches, today’s cockpits now do an excellent job of matching the display of critical information and the positioning and choice of controls to human capabilities. In addition, the procedures followed by pilots and crew, air-traffic controllers, and ground staff have also been revised to better match human requirements. As a result, the accident rate has decreased to the point where commercial aviation incidents are rare. In similar fashion, early computers were controlled through complex command languages that required considerable training to use, and when errors occurred, they were blamed on the operators.

Today’s computer systems are designed with much greater appreciation of human needs and capabilities. The results are graphical displays and control through simple mouse clicks, hand gestures, or voice commands that match the way people think and behave, so that learning is easy and direct.

The goal is to change the way we consider our technology. Instead of having people do the parts of a task that machines are bad at, let’s reverse the process and have machines do the parts that people are bad at. Instead of requiring people to work on technology’s terms, require the machines to work on human terms. People and technology would then become partners. This approach could result in systems where the combination of people + technology can be smarter, better, and more creative than either people or technology alone. A person plus a calculator is a good example of a perfect, complementary match.

What do I hope for in the future? A symbiotic relationship between people and technology, where design starts by understanding human needs and capabilities, only using the technologies that are appropriate to empower people. One goal is collaboration, where teams composed of people and technology do even better than they could do unaided, with more pleasure and satisfaction. There are many situations where autonomous, intelligent technology should be deployed, often in areas characterized by the “three D’s”: dull, dirty, and dangerous. For in most situations, collaboration over long periods without distraction or deviance–where people guide the overall goals and activities with technology executing the lower-level requirements of the task for consistency, accuracy, and precision–leads to better, more enjoyable results for everyone. To get there, however, we need to replace the technology-centered design approach with a human-centered one, where we start by building upon human skills, with the latter then enhanced through the capabilities of technology.

Don Norman, a frequent speaker, author, and corporate advisor, is Professor and Director of the Design Lab at the University of California, San Diego and co-founder and principal of Nielsen Norman Group. His formal education is in electrical engineering and psychology. He has served as a faculty member at Harvard, University of California, San Diego, Northwestern, and KAIST (South Korea). He has also worked in industry as a vice president at Apple, an executive at Hewlett Packard, and at a startup. Today Norman’s emphasis is on helping technology companies structure their product lines and businesses, concentrating on design thinking to help drive both incremental and radical innovation. His books include The Design of Everyday Things, Living with Complexity, Emotional Design: Why We Love (Or Hate) Everyday Things, and The Design of Future Things, among many others.

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US pay-TV ARPU slides significantly

The average standalone pay-TV service ARPU declined 10% from 2016 to 2018, when consumer-reported monthly spending on pay TV declined from $84 to $76.

parks 2 aug 2019

Self-reported expenditures on non-pay-TV home video entertainment also declined 30% per month over the past seven years, peaking at nearly $40 in 2014 to slightly over $20 at the end of 2018, according to analysis from Parks Associates.

Meanwhile, pricing pressure for consumer services is forcing increasing conflict in carriage negotiations, the firm said, which in turn fuels the interest among providers in continued vertical and horizontal consolidation.

“Traditional pay-TV providers (MVPDs) have faced continued subscriber losses due to increasing consumer choice from OTT services, so they are deploying

skinny bundles

 and vMVPD services to create more choice among viewers,” said Elizabeth Parks, president, parks Associates. “For pay-TV service providers, traditional and online, they are exploring new areas in content ownership and development, and to be successful in these efforts, understanding consumer activity and motivation related to adoption and use of their services is critical.”

Brett Sappington, senior research director and principal analyst, Parks Associates, added: “Subscription online video is the only growth category for consumer-paid video entertainment beyond pay-TV. Operators, struggling with declining ARPU for standalone pay-TV services, are anxious to leverage this trend. Operators are taking differing approaches. Some, including Comcast and DISH, are offering subscriptions to third-party OTT video services and are integrating them into their discovery interfaces.

‘Partnering gives operators a chance to serve as content aggregator, a familiar position. Others, including AT&T and DISH, are expanding their competitive reach online and have introduced vMVPD services.”

Parks also found

that a fifth (20%) of US broadband households do not have a pay-TV service. About 12% of US broadband households eliminated pay-TV service in 2018.

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How neuroscience equips us to become better creators

We are in the midst of a shift in the perception about neuroscience. No longer do we regard it as just an interesting topic; we are now talking about neuroscience as a proven and useful tool. The conversation tends to focus either on the different technologies and their use in research and evaluation; or on learnings from behavioral science, such as framing, anchoring and loss aversion, that can help nudge people towards taking actions.

But, as designers, we see other opportunities for neuroscience.

According to research, it takes the human brain just 13 milliseconds to begin to process an image, whereas typically it takes up to 400 milliseconds to read a word and understand what it means. In fact, so heavily weighted are our brains towards what we see, that the interpretation of visuals can override both rational consideration—such as when vanilla puddings are colored brown and miraculously reported as tasting of chocolate—and even senses like hearing.

The human brain uses two markedly different systems for processing information and making decisions. The first is an automatic, fast and often subconscious way of thinking, which requires little attention or effort but is prone to biases and errors. This is called System 1.

The second is a much slower and more controlled process, which requires energy and attention but, once engaged, it has the ability to filter those instinctive biases and errors. This is known as System 2.

Marketers can benefit greatly from understanding more about how System 1 decodes the visual world, particularly with an ever-increasing number of stimuli competing for our finite attention.

Of these, visual stimuli are by far the most dominant, with around 90% of our System 1 being concerned with making sense of what we see. As such, it can be argued that many of our conventional approaches to persuasion through communication—headlines, copy and voiceover—appeal to our rational decision-making and, therefore, may be far less influential than the visual cues people decode subconsciously.

System 1 learns by association, connecting stimuli and concepts, so that one triggers the other. For example, one study found that participants who completed a word search featuring terms associated with the elderly, such as “Florida”, “forgetful” and “wrinkle”, walked significantly more slowly when leaving the room than those with more neutral words.

This effect enables marketers to code design with visual cues that connect a brand intuitively with a concept borrowed from culture or other categories to evoke a similar concept. For example, the Adidas flagship store in New York borrows heavily from the world of stadiums, featuring concrete entrance tunnels, locker-room-style changing rooms and ticket-booth cash desks, all of which cement the brand’s link to sport.

And while we are all aware of the power of humanity in connecting audiences to brands—like a cute baby to engage us or a directional gaze to shift our attention—we can go beyond many of the more obvious uses towards subtler but nonetheless powerful ways to infer human characteristics and connections, through the use of personality, individuality, human touches, imperfections and names.

Such ideas are not new, of course. Back in 1944, a psychological experiment found that subjects who had watched a short, animated film showing the basic movement of simple shapes were quick to make sense of what they had seen, creating characters and storylines by association with these seemingly ambiguous visuals. Today, many brands are finding success from building visual cues and strong associations into their design: like Bonne Maman, whose jars, lids and labels epitomize the feeling of “homemade” (which they most certainly are not); and bad-ass coffee brand Bandido, whose ‘B’ has been cleverly rotated to form a Zorro-style mask.

The overall look is important, too. System 1 interprets beauty as something which has been invested in, cared about and has self-belief. This means we will instantly decide that we would be prepared to pay more for an aesthetically pleasing brand because we believe it is worth it. The same process also skews our judgment on things like web content. People decide whether they like a web page within 0.05 seconds of seeing it by reacting to the overall aesthetic, rather than to the content itself. So, while sweating the content is important, even the most substantive message will be poorly received and interpreted if we don’t pay attention to the overall design.

By understanding some of these principles, we can use neuroscience not only to measure more precisely but to create more effectively in the first place.

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Inside the rise of TikTok, the video-sharing app with 1 billion downloads that’s owned by a massive Chinese internet company

tiktok

One of the most popular apps among teenagers at the moment is a short-form video platform called TikTok.

TikTok acts as a social network, where users share videos covering a wide range of categories, from lip syncing to comedic skits to viral challenges. But even if you’ve never heard of the app, it’s worth getting to know it. TikTok has over 1 billion all-time downloads, and its popularity and influence has only continued to spread.

TikTok is the product of a major Chinese company, and has only been on the scene for a few years. The app has gone through name changes and gotten new features throughout its history, but it’s all only helped to spur its popularity to new heights.

Here’s how TikTok rose to become a platform launching a new generation of influencers and loved by teens:

SEE ALSO: How to use TikTok, the short-form video app Gen Z loves and that’s ushering in a new era of influencers

To trace the history of this incredibly popular short-video sharing app, it’s important to note that TikTok didn’t start as TikTok.

TikTok is owned by ByteDance, a Chinese tech company that runs several popular social networking apps.

Think of ByteDance — headquartered in Beijing, China — as China’s Facebook. Both companies own families of popular social networking apps used by billions of people a day.

ByteDance is run by CEO Zhang Yiming, who founded the company in 2012. Zhang’s name is relatively unknown outside of China, but the 35-year-old CEO comes from a background in software engineering.

Source: Bloomberg

Zhang and ByteDance’s first product was a news aggregator app called Toutiao. Zhang wanted to create a news platform whose results were powered by artificial intelligence, separate from China’s search engine Baidu.

Source: Bloomberg

Since 2012, ByteDance has expanded as an umbrella for several popular Chinese social apps. Just this year, ByteDance has released a WeChat-competing chat app called FlipChat, and a video-messaging app called Duoshan.

Source: TechCrunch

Bytedance is now worth $75 billion, making it the most valuable private company in the world. It’s recieved investments from some of the biggest VC firms globally, including SoftBank, Sequoia Capital, and General Atlantic.

Source: PitchBook

In September 2016, ByteDance launched a short-video app in China called Douyin. Short-form video creation was nothing new for China’s market, but Douyin’s popularity skyrocketed. Within a year, Douyin had 100 million users and 1 billion video views each day.

Source: WalktheChat

Then a year later, Douyin expanded outside of China to select international markets under a new name — TikTok. The platform quickly rose to top of the charts in Thailand, Japan, and other Asian markets.

Source: KrAsia

But as TikTok started to gain traction globally, another short-video app was already buzzing in the U.S.: Musical.ly. Its focus was 15-second lip-syncing music videos.

Source: Business Insider

Musical.ly was first created in 2014 by Alex Zhu and Louis Yang. It was born from an idea for short-form education videos, but Zhu said in the original idea was "doomed to be a failure."

Source: Business Insider

The app hit the No. 1 spot in the App Store in the summer of 2015, and never left the charts. From Musical.ly, a new generation of stars was created, including Jacob Sartorius.

Source: Business Insider

When the popular video app Vine closed in October 2016, many of the fresh class of young influencers who found fame by posting videos turned to Musical.ly to continue their work.

Source: New York Times

Then in November 2017, ByteDance purchased Musical.ly in a deal valued at $1 billion. The Chinese company operated its two short-form video apps, Musical.ly and TikTok, as two separate platforms.

Source: Business Insider

A little under a year later in August 2018, ByteDance announced it was shutting down Musical.ly and merging it with TikTok. All Musical.ly profiles were automatically moved over to the TikTok platform. "Combining musical.ly and TikTok is a natural fit given the shared mission of both experiences — to create a community where everyone can be a creator," Musical.ly cofounder Zhu said at the time.

Source: Variety

Since the merger, TikTok has only risen in popularity in the US. Together, TikTok and Musical.ly have more than 1.2 billion all-time downloads around the world. TikTok’s popularity in the US peaked in December 2018 with 6 million installs, according to app analytics tracker Sensor Tower.

Source: Sensor Tower

TikTok has helped to launch some users to celebrity level of fame among Gen Z. That includes Lil Nas X, whose song "Old Town Road" gained popularity in part because of TikTok, where the song was used for countless videos and memes.

Source: Complex

Currently, the most popular star on TikTok is Loren Gray, who first launched her account on Musical.ly. At the time of writing, Gray had 31.8 million followers.

Source: Seventeen

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