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Disney streaming exec Kevin Mayer becomes TikTok’s new CEO

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Kevin Mayer, head of The Walt Disney Company’s direct-to-consumer and international business, is departing to become CEO of TikTok, as well as COO of the popular video app’s parent company ByteDance.
Founder Yiming Zhang will continue to serve as ByteDance CEO, while TikTok President Alex Zhu (formerly the co-founder of the predecessor app Musical.ly) becomes ByteDance’s vice president of product and strategy.
“I’m thrilled to have the opportunity to join the amazing team at ByteDance,” Mayer said in a statement. “Like everyone else, I’ve been impressed watching the company build something incredibly rare in TikTok – a creative, positive online global community – and I’m excited to help lead the next phase of ByteDance’s journey as the company continues to expand its breadth of products across every region of the world.”
The news was first reported by The New York Times and subsequently confirmed in announcements from ByteDance and Disney.
Mayer’s role involved overseeing Disney’s streaming strategy, including the launch of Disney+ last fall, which has already grown to more than 50 million subscribers. He was also seen as a potential successor to Disney CEO Bob Iger; instead, Disney Parks, Experiences and Products Chairman Bob Chapek was named CEO in a sudden announcement in February.
Mayer was likely an attractive choice to lead TikTok not just because of his streaming success, but also because hiring a high-profile American executive could help address politicians’ security concerns about the app’s Chinese ownership.
Over at Disney, Rebecca Campbell (most recently president of Disneyland Resort, who also worked on the Disney+ launch as the company’s president for Europe, Middle East and Africa) is taking over Mayer’s role, while Josh D’Amaro is taking on Chapek’s old job as chairman of Disney parks, experiences and products.
In a statement, Chapek said:
As we look to grow our direct-to-consumer business and continue to expand into new markets, I can think of no one better suited to lead this effort than Rebecca. She is an exceptionally talented and dedicated leader with a wealth of experience in media, operations and international businesses. She played a critical role in the launch of Disney+ globally while overseeing the EMEA region, and her strong business acumen and creative vision will be invaluable in taking our successful and well-established streaming services into the future.

Disney CEO Bob Iger immediately steps down from CEO position

 

Disney streaming exec Kevin Mayer becomes TikTok’s new CEO

TikTok tops 2 billion downloads

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TikTok, the widely popular video sharing app developed by one of the world’s most valued startups (ByteDance), continues to grow rapidly despite suspicion from the U.S. as more people look for ways to keep themselves entertained amid the coronavirus pandemic.
The global app and its Chinese version, called Douyin, have amassed over 2 billion downloads on Google Play Store and Apple’s App Store, mobile insight firm Sensor Tower said Wednesday.
TikTok is the first app after Facebook’s marquee app, WhatsApp, Instagram and Messenger to break past the 2 billion downloads figure since January 1 of 2014, a Sensor Tower official told TechCrunch. (Sensor Tower began its app analysis on that date.)
A number of apps from Google, the developer of Android, including Gmail and YouTube, have amassed over 5 billion downloads, but they ship pre-installed on most Android smartphones and tables.
TikTok’s 2 billion download milestone, a key metric to assess an app’s growth, comes five months after it surpassed 1.5 billion downloads.

In the quarter that ended on March 31, TikTok was downloaded 315 million times — the highest number of downloads for any app in a quarter and — surpassing its previous best of 205.7 million downloads in Q4 2018. Facebook’s WhatsApp, the second most popular app by volume of downloads, amassed nearly 250 million downloads in Q1 this year, Sensor Tower told TechCrunch.
As the app gains popularity, it is also clocking more revenue. Users have spent about $456.7 million on TikTok to date, up from $175 million five months ago. Much of this spending — about 72.3% — has happened in China. Users in the United States have spent about $86.5 million on the app, making the nation the second most important market for TikTok from the revenue standpoint.
Craig Chapple, a strategist at Sensor Tower, said that not all the downloads are as organic as TikTok, which launched outside of China in 2017 and has engaged in a “large user acquisition campaign.” But he attributed some of the surge in downloads to the COVID-19 outbreak that has driven more people than ever to look for new apps.
India, TikTok’s largest international market, accounts for 30.3% of the app’s downloads, according to Sensor Tower. The app has been downloaded 611 million times in the world’s second largest internet market.
From a platform’s standpoint, 75.5% of all of TikTok’s downloads have occurred through Google Play Store. But the vast majority of spending has come from users on Apple’s ecosystem ($435.3 million of $456 million).
TikTok’s parent firm ByteDance, which was valued at $75 billion two years ago, counts Bank of China, Bank of America, Barclays Bank, Citigroup, Goldman Sachs, JP Morgan Chase, UBS, SoftBank Group, General Atlantic, and Sequoia Capital China among some of its investors.

TikTok tops 2 billion downloads

Disruptor Beam relaunches as gaming infrastructure-maker Beamable

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Disruptor Beam, the mobile gaming startup behind Star Trek Timelines, has a new name and a new business. It’s now calling itself Beamable, and it’s selling a set of tools to help game developers add commerce and social functionality to their titles.
The company’s direction became clear earlier this year when it sold Timelines to Tilting Point so that it could focus on its developer tools. Now Beamable is officially launching its Early Access program for games that are live, or that are scheduled to go live in the next 12 months.
CEO Jon Radoff told me that Disruptor Beam first built this technology for its own games — not just Timelines, but also Game of Thrones Ascent and Walking Dead: March to War.
Radoff suggested that there’s a real need for this as gaming continues shifting towards a “games as a service” model, where developers don’t just release a title and move on, but rather continue adding new features and content, while continuing to make money from players.
Image Credits: Beamable
The largest developers with the most popular games can support this approach, but he said, “For the next 5,000 games on the app stores, any of the things they’ve built are pretty primitive and they really need help.”
He added, “For these developers, 30% or 40% of their effort goes into making a cool game, and all the other money and time goes into things the player doesn’t really see — the store and the commerce … It’s kind of like a tax on their ongoing operation.”
With Beamable, on the other hand, developers can take advantage of the infrastructure that the company has already built for in-game storefronts, merchandising, content management and social interactions. The platform also ties together the company’s backend infrastructure with the Unity 3D editor and the live gameplay experience.
“Other products we’ve investigated are just middleware,” said Tap Slots CEO Markus Weichselbaum in a statement. “Beamable is fully-integrated with Unity, including user interfaces that work in both the Unity 3D editor and game clients. This saves us massive amounts of time we’d otherwise spend in the guts of the technology and rediscovering best practices, instead of doing what we need to do: designing great games.”
In addition to selling Timelines, Disruptor Beam also shifted its business by shutting down Ascent and March to War, and it’s sold an unnamed, still-in-development title to East Side Games.
The Beamable team Image Credits: Beamable
Radoff suggested that when Disruptor Beam started, the market for licensed games tied to major entertainment franchises was still “the Wild, Wild West” providing “a tremendous opportunity” for startups to innovate. Now, however, it’s a “mature market” that’s dominated by larger developers.
Radoff also acknowledged that he spent much of 2019 “trying to figure out how to have my cake and eat it too” — in other words, how the company could turn the game platform into a business while continuing to develop games of its own.
“Ultimately, I concluded that game development is an obsession,” he said. “When you have a company in which any amount of game development is happening, no matter what you do, you’re always going to be obsessed with game development, and that obsession tends to push out your ability to create great technology or a great product for developers.”
Instead, Radoff decided to sell off the company’s games and try to build an organization (now operating remotely via Zoom, like everyone else) that’s equally obsessed with building a development platform — primarily for mobile games, but also for PC and console.

‘Star Trek Timelines’ game maker Disruptor Beam raises $8.5M

Disruptor Beam relaunches as gaming infrastructure-maker Beamable

Media software maker Plex launches new subscriber-only apps for music and server management

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Media software maker Plex has released two new projects today from its internal R&D group, Plex Labs. One is an updated take on the classic Winamp player it calls Plexamp, and another is a dedicated app for Plex server administration. The projects are meant to appeal largely to Plex power users who take full advantage of Plex’s software suite, which has grown over time from being only a home media solution to a one-stop shop for everything from live TV to streaming audio.
The first of the new apps, Plexamp, is actually a revamp of the first Plex Labs project released. In December 2017, Plex introduced its own music player, whose name Plexamp was a nod to the Winamp player it aimed to replace. The project, like others from Plex Labs, was built by Plex employees in their spare time.
The goal with the original Plexamp was to offer a small desktop player that could handle any music format. The app let you use media keys for playing, pausing and skipping tracks and it worked offline when the Plex server ran on your laptop. It also offered visualizations to accompany your music that pulled from the album art.
While the original app ran on Mac or Windows, the new release works across five platforms, now including iOS, Android and Linux.
The app itself has been completely redone, as well — rewritten from scratch, in fact. And it’s tied to Plex’s subscription service, Plex Pass — meaning you’ll need to be a paying customer to use it.

The company explains the original version of Plexamp had issues around portability and licensing; it didn’t have an easy way to add functionality; and it was built with React, which tied it to the web.
To create the new Plexamp (version 3.0), Plex built an audio player library called TREBLE on top of a low-level commercial audio engine. TREBLE has been shipping in Plex’s commercial applications, but this release brings it to Plexamp. The addition helped make the app portable across almost all desktop and mobile platforms, as was it being rewritten in React Native.
The new app provides features Plex Pass music listeners want, like gapless playback, high-quality resampling, Sweet Fades (Plex’s “smart” alternative to crossfades) soft transitions and pre-caching. Plex also added a few more effects, including one for voice boosting spoken word audio and another for silence compression.
But the app really sells itself to longtime Plex users, as Plexamp lets you go back to see your own “top personal charts” for what you’ve listened to the most in years past. (Sort of like a Plex version of Apple Music’s Replay playlists).

Plexamp 3.0 also introduces a feature that lets you build your own mixes by picking a set of artists. Plus it offers a more expansive list of stations, supports offline listening and improves its search functionality.
The new Recent Searches area, for example, will save your search results from across servers, as well as TIDAL and podcasts. And a new Recent Plays feature shows you the music you consciously chose to play, again including across all servers and TIDAL.

There are some little touches, too, that show the personal care that went into the app’s design — like the way Plexamp uses album art and a process called “UltraBlur” to give each artist and alum page its own look. Or how there are options for light and dark — and lighter and darker — themes.

The other big new release from Plex Labs is the new Plex Dash app.
This mobile and tablet app lets you keep a close eye on your personal media server, including a way to see all playbacks even across multiple servers, plus other administrative features.
With Plex Dash, you can edit your artwork, scan for new media, fix incorrect matches, check on server resource usage, tweak library settings and view server logs live.
Plex suggests you it run on the iPad you have mounted in the wall — like in your fancy media room, I guess — but for us poorer folks, it runs on your smartphone, too.
It’s a power user tool, but one that will be welcomed for those fully immersed in a Plex-run home media setup. (And also a good way to respond to criticism that Plex is too focused today on its streaming and TV options, and not its core home media software customer base.)
Like Plexamp, the new Plex Dash requires a Plex Pass subscription and runs on iOS and Android.
The apps launched today are notable as they’re the first to arrive from Plex Labs since the original release of Plexamp in 2017 and because they require a subscription in order to work.
Plex at the end of 2019 said it had 15 million registered households using its service. Though the service is profitable, only a small percentage are paid subscribers. New apps with extra features, then, could convince more Plex users to upgrade.

Media software maker Plex launches new subscriber-only apps for music and server management

Disney+ Hotstar has about 8 million subscribers

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We finally know just about how many subscribers Hotstar has amassed over the years in India. “Approximately 8 million.”
Disney said on Wednesday that its eponymous streaming service now has over 50 million subscribers, nearly 8 million of whom are in India, where it launched its service atop Hotstar less than a week ago.
Five-year-old Hotstar is the most popular on-demand streaming service in India with more than 300 million users. The service and its operator, Indian network Star India, were picked up by Disney as part of its $71 billion deal with Fox last year.
For years, people in the industry have been curious about Hotstar’s premium subscriber base — to no luck. Most estimates have suggested it had about 1.5 million to 2 million subscribers. Executives at rival firms have expected that figure to be lower.
In fact, a months-long analysis conducted by one streaming firm in India concluded recently that there were 2 million paying subscribers for music and video services. So 8 million is a huge milestone.
But ARPU that Disney will clock from these 8 million subscriber is going to be far lower. Disney+ Hotstar is available in India at a yearly subscription cost of about $20. (That’s the revised subscription cost. Prior to Disney+’s launch in India, Hotstar charged about $13.) The service also offers a lower-cost tier that costs less than $5.5 a year.
And for that $20 a year, subscribers of Disney+ Hotstar get access to a wide-ranging catalog that includes access to Disney Originals in English as well as several local languages, live sporting events, dozens of TV channels, and thousands of movies and shows, including some sourced from HBO, Showtime, ABC and Fox that maintain syndication partnerships with the Indian streaming service.
“I think everyone is still trying to sort out the right pricing. It’s true the average Indian consumer is used to far lower prices and can’t afford more. However, we need to focus on the consumers likely to buy this, who have the requisite broadband access and income, etc,” Matthew Ball, former head of strategic planning for Amazon Studios, told TechCrunch in a recent conversation.
Disney+ competes with more than three dozen international and local players in India, including Netflix, Amazon Prime Video, Times Internet’s MX Player (which has over 175 million monthly active users), Zee5, Apple TV+ and Alt Balaji, which has over 27 million subscribers.
Most of these services monetize their viewers through ads, and have kept their monthly subscription price below $3.

Disney+ Hotstar has about 8 million subscribers