Vertical: ICTBase Year: 202110 Sections
Market Size (2021)
—
Projected (2030)
—
CAGR (2015–2030)
N/A
Key Players
16+
Until recently, the media and entertainment industries struggled to reach their intended audiences. But this is fast changing as a result of big data and analytics. Companies in the media and entertainment industries have launched their data-driven journeys. Data is being utilized on a wide scale for the first time to provide the right content to the right people on the right platform at the right moment. The fact that media corporations are focusing so intensively on consumers is a key component in this transition. Data is being utilized to customize consumers' consumption experiences by delivering the exact right material to them at the exact right time and place, on whatever device they happen to be using at the moment. Data is also being used to maintain the network working as expected by customers, including the so-called "last mile," which is the portion of the network that actually carries material into consumers' homes and is sometimes outside the control of certain media firms. Most importantly, data is critical to changing the way media businesses assess the effectiveness of their initiatives. The latter represents a really significant shift.
Traditional broadcast and cable businesses, as well as digital sources and social media, are changing the way they sell commercials and develop and program content. They leverage big data and advanced analytics to sell business results rather of relying on outmoded proxy measurements like gross rating points (GRPs), click-throughs, or impressions. Instead of focusing on increasing total revenue, they are focusing on increasing real revenue.
The media and entertainment industries are fast expanding, from 4K to 8K to virtual reality and beyond. As customers want more control, video is being filmed at ever-increasing resolutions, UHD broadcasting is gaining traction, and OTT streaming continues to upset the sector. Media firms are developing mountains of fresh material in order to captivate viewers. The capacity to rapidly transmit vast amounts of rich media across worldwide production teams and distribution channels has never been more vital. IP network-based manufacturing and distribution is gaining traction. OTT services such as Netflix have gained widespread adoption, live streaming experiences are becoming more popular, and consumers are seeking more control over when and what they watch.
The worldwide pandemic affected the theatrical and home/mobile entertainment industries in 2020, with movie theatres and production companies temporarily closing. Viewers were compelled to stay at home for their audiovisual pleasure while millions were quarantined. Along with the epidemic, new streaming media services from major studios like as Disney, Universal, and Warner Bros. joined (and competed with) Netflix, Hulu, and Amazon. As a result, stay-at-home customers may enjoy premium TV and movies across several screens and providers. While industry analysts had noted that this trend was already underway, many believe that the epidemic has accelerated the rate of adoption. The COVID-19 outbreak caused significant disruptions in the Media & Entertainment business.
There are more entertainment hours to fill at home. In this setting, suppliers of 'at-home entertainment' are engaging consumers more, reaching new and wider audiences, and even broadening their use cases.Despite consumption was growing, however, income was down overall since advertising spending, on which the business is highly reliant, is contracting and entire areas of the industry are shutting down. Production was also halted at a time when people are consuming more, placing strain on content libraries and potential shortages. Yet, mitigating and compensating effects are beginning to appear from 202.
Streaming video, social media, and gaming are enabling new business models while also altering media and entertainment. The true story for 2023, however, is that these three sectors are becoming increasingly intertwined as part of a larger and more diverse media and entertainment ecosystem. Successful businesses will most likely establish compelling visions that cross various industries and propel them ahead. In 2023, all indicators point to continued transformation in the media and entertainment industries. Studios and video streamers are dealing with the realities of their own market disruption, seeking to find revenues in a less viable economy. They fight not just for attention, time, and income, but also for social media, user-generated content, and video games. The latter have developed more swiftly, remaining close to younger demographics. As SVOD firms spend billions on material to entice fickle users, social media platforms have more free video content than they can handle. Major social networking sites are embracing user-generated video content (UGC), emphasizing users' interests above connections—and resembling a new type of tailored TV. While the creator economy has aided social media and brought independent producers closer to their audiences, creative earnings remain meagre and uncertain.
Major UGC providers appear to be at a loss for how to best assist their content producers and brand ambassadors while keeping their own expenses low. Meanwhile, more socialization may be going to messaging platforms that are more utilitarian than entertaining. The tale of gaming in 2023 is that it is affecting every aspect of the media and entertainment industries. Video games should be considered in all entertainment strategy, from basic smartphone games to massively multiplayer services and sophisticated hyper-realistic narrative game worlds. Gaming may also emphasize the close communities and fandoms that may help maintain and expand entertainment properties. By 2023, it may be evident that video, social, message, and interactive are all components of the same engagement ecosystem.
The global entertainment and media market generated a revenue of USD 2,244.8 billion in 2020 and is expected to reach a market value of USD 5,099.2 billion by 2030, growing at an 8.9% CAGR. The study of the global entertainment and media market provides detailed information about the industry trends and dynamics, market size, competitive landscape, and growth opportunities. This research report categorizes the market based on type, applications and region/country.
Based on type, the market has been segmented into music & theatre, radio & broadcasting, social media, films, sports, animation, gaming & gambling, outdoor/ leisure, books & magazines, amusement parks/ facilities, and toys. Based on applications, the market has been segmented into wired and wireless. Based on region the market has been segmented into North America, Europe, Asia-Pacific, Middle East & Africa and South America.
During the study, Wantstats has identified the players that contributed a significant share to the growth of the global entertainment & media market. These players focus on innovation and thus, invest in research and development to present a cost-effective product portfolio. There have been recent mergers and acquisitions among the key players, a strategy the business entities leverage to strengthen their reach to the customers. Furthermore, the global market is highly fragmented, with the presence of several prominent vendors. providers in the market are adopting several organic and inorganic growth strategies, such as product enhancement & technological advancements, product launches, acquisitions, partnerships, agreements, and collaboration, to improve their position and excel in the global entertainment & media market.
Entertainment & Media Market is a key focus area for market intelligence and strategic research.
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View Subscription PlansMovies/cinema, television, music, publishing, radio, the internet, advertising, and gaming are all key sub areas of the entertainment and media market. Broadcasting, publishing, and the Internet are examples of media outlets for mass communication. Entertainment is commonly connected with video, audio, and gaming, among other things. Advertisements, broadcast rights, intellectual property rights, ticket sales, and public and private funding are just a few of the revenue-generating segments in the entertainment and media business. Latest industrial advances such as wireless, mobile, gadgets, digitization, 5G, cloud storage, consumer analytics, and social media platforms are currently transforming the entertainment and media sector.
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View Subscription PlansThis report applies a rigorous multi-stage research process combining primary interviews, secondary data sources, and bottom-up market modelling to ensure accuracy and completeness across all segments and geographies.
Base Year
2021
Historical Period
2015 – 2020
Forecast Period
2022 – 2030
Primary Interviews
150+
Historical data (2015–2021) and forecast period (2021–2030)
Our research process spans primary interviews with industry stakeholders combined with comprehensive secondary data analysis, validated through triangulation across multiple independent sources.
The entertainment and media market are characterized by the presence of many global, regional, and local players. The market is competitive, with all the players competing to gain market share. Strong competition, and increasing adoption of cloud, IoT, and AI, are key factors that confront the market growth. The vendors compete based on cost, product quality, reliability, and aftermarket services. It is crucial for the vendors to provide cost-efficient and high-quality services to survive and succeed in an intensely competitive market.
According to Wantstats analysis, the growth of the Entertainment & Media Market is dependent on market conditions. The key vendors in the market are NEWS CORPORATION, ADVANCE, IHEARTMEDIA INC., DISCOVERY, INC., WARNER MEDIA, LLC, VERIZON COMMUNICATIONS INC., ALPHABET INC, Disney, BAIDU, INC, GRUPO GLOBO, COMCAST CORPORATION, Meta Platforms, Inc., BERTELSMANN SE & CO. KGAA (BERTELSMANN), ViacomCBS (Paramount), HASBRO INC., and MATTEL INC.
These companies are focusing on enhancing their products with the integration of improved technologies. Moreover, these companies are prominent providers of Entertainment & Media and compete in the Entertainment & Media market to increase their geographic presence, expand their customer base, and form strategic partnerships.
The top 7 players in the Entertainment & Media market are Comcast Corporation, The Walt Disney Co., Netflix Inc., Paramount Global, Warner Bros. Discovery Inc., Fox Corporation, and NetEase Inc.
Comcast Corporation aims to maintain its position in the market via organic and inorganic strategies. It invests heavily in offering unique products and services to its user, which increases customer satisfaction. The company also focuses on strategic mergers and acquisitions to increase its market presence and strengthen its global scenario position. For instance, the acquisition of Sky helped Comcast increase its presence in the European market and expand its product offerings.
Disney follows both organic and inorganic growth approaches. The company is focused on the development of its offering to enhance its product portfolio. For instance, in 2018, the company launched ESPN+ and continued developing Disney+, which has helped the company meet the consumer demand and broaden its customer base. Under its inorganic growth strategy, the company focuses on strategic acquisitions. For instance, in March 2019, the company acquired 21CF to expand its products and services portfolio and geographic reach. Furthermore, the company is developing a new direct-to-consumer and International (DTCI) service named Disney+, scheduled to launch in 2019, featuring Disney, Pixar, Marvel, and Lucasfilm movies and a wide range of exclusive original series and movies, as well as titles/episodes from the company’s film and television libraries to broaden its offerings, increase its customer reach, and help the company maintain its position in the market. Additionally, Disney had reached over 50 million subscribers on Disney+ in April 2020.
Netflix's strategy revolves around providing a personalized and flexible streaming experience to its customers. It has achieved this by leveraging advanced algorithms and machine learning to recommend content that is tailored to each user's individual preferences. Netflix also invests heavily in producing its own original content, which has helped to differentiate it from its competitors and build a loyal subscriber base.
ViacomCBS (Paramount) follows an organic and inorganic growth approach to grow its business by increasing its viewership share. It has invested heavily in producing a significant amount of high-quality original programming and other content under its media network segment. Under its filmed entertainment segment, the company invests a significant amount in producing, marketing, and distributing films & television series. It also strategizes to acquire programming, films and television series, and a variety of digital content and other ancillary rights such as consumer and home entertainment product offerings and pays license fees, royalties, or contingent compensation in connection with the acquired rights. The company is also transitioning to next-generation platforms and marketing solutions and diversifying its core business to increase its global reach.
Discovery, Inc. invests heavily in creating high-quality content for their brands and networks to increase customer retention, optimize distribution revenue, and capture advertising sales. The company focuses on acquisitions and strategic partnerships for facilitating global expansion and increasing the content and network channels. It strategizes to produce and distribute content suitable for the audience they target regardless of their language and other preferences. The company strategizes to reposition branded channels to endure long-term growth with a strong consumer appeal and reach the untapped markets.
Fox Corporation's strategy centers around creating and distributing high-quality content across a range of platforms, including traditional television, digital media, and streaming services. The company is focused on maximizing the value of its existing properties by leveraging them across various distribution channels and building out its digital capabilities.
Threat of New Entrants
The entertainment & media market is expected to witness substantial growth during the forecast period. However, the capital investment for entering the market is high since the entertainment and media industry is mature, and new firms incur high costs to establish a presence and compete with the existing players of the market.Sunk costs are business costs that cannot be recovered; the risk of incurring high sunk costs if a firm exits the market further increases the barriers for the new entrants in the global market. Moreover, the costs required by the firms for brand development and distribution are also high, which further limits the entry of new players into the market. Therefore, the new entrants are expected to present a low threat to the existing competitors in the global entertainment & media market during the forecast period.
Bargaining Power of Suppliers
The entertainment & media industry has a large number of suppliers; this makes them have less power over dictating the prices of the products. Moreover, the cost of switching from one supplier to another is moderate. The number of content creators and providers in the entertainment and media industry is high; the increased outsourcing prevents these providers from affecting organizations' strategic management decisions and imposing demands on the key market players due to several available sources of content. Therefore, the bargaining power of suppliers is expected to be low in the global entertainment & media market during the review period.
Threat of Substitutes
The availability of close substitutes for the entertainment & media market is expected to remain moderate throughout the forecast period. Close substitutes are only present within the sub-segments of the industry, which include e-newspapers for printed newspapers, e-magazines for printed magazines and e-books for printed books. Buyers have a choice to opt for printed or digital media which results in loss of business for printed media enterprises and raises the profitability of digital media providers. The industry has seen a paradigm shift towards digital technologies owing to consumers preference of on-demand and live streaming of events. Key players such as Google LLC and Apple Inc. have transformed video content distribution with the help of digital platforms. Moreover, the variety of content offered by the entertainment and media providers is high and is expected to play a key role in determining the market growth in the coming years.
Bargaining Power of Buyers
The low switching cost makes it easy to switch from one player to the other, thus decreasing brand loyalty among consumers. This gives more power to the buyers to dictate the prices in the entertainment and media industry. The price sensitivity of the end users of this market is moderate, as fluctuations in the prices of entertainment and media products and services do not have a significant impact on buyers as they have options to switch to online sources of entertainment at a lower cost. This makes the ability of buyers to switch to substitutes easy, which further determines the pricing of the company’s offerings. Therefore, the bargaining power of the buyers is expected to be high in the global entertainment & media market during the forecast period.
Intensity of Rivalry
The entertainment & media industry is growing rapidly and is expected to attain a higher growth rate in the upcoming years. Many established firms offer media and entertainment products and services in the market, making the competition high. The key players are focused on adopting strategies such as collaboration to gain a greater market share to have a competitive advantage over other players. Moreover, companies that produce high-quality animated video content and games compete against each other, making the industry environment highly competitive. Hence, the intensity of rivalry in the global entertainment & media market is likely to be high during the forecast period.
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Analytical insights on Entertainment & Media Market covering market dynamics, competitive landscape, and strategic outlook.
Entertainment & Media Market represents a significant market opportunity with multiple growth drivers across regions and segments.
can be due to the growing popularity of video games played on mobile devices, laptops, desktop computers, and gaming consoles. Tournaments for eSports have also grown in popularity, with prize pools rivalling some of the biggest events in traditional sports. For instance, the Dota 2 International, which began in 2013 with the highest ever prize pool in the esports segment of USD 1.3 million, currently has a total prize pool of USD 34.3 million, surpassing the prize pools of conventional sporting tournaments such as the US Open for golf and the Tour de France, which had prize pools of USD 12 million and USD 2 million, respectively. The Dota 2 International 2020, which was scheduled to take place in August 2020 but was postponed due to the COVID-19 pandemic, had take place in August 2021, with a prize pool of USD 40 million, USD 38 million of which came from contributions from gamers all over the world via its yearly battle pass compendium. Similar events have drawn higher crowds, such as the 2020 League of Legends (LOL) world championship, which drew over 3.8 million viewers, bringing it on pace with major sporting events like the 2018 Super Bowl. The International Dota 2 tournament in 2019 was also the most-watched event on Twitch, with over 1.1 million viewers watching the grand finals alone. These events have generated significant revenues through corporate sponsorships, ticket sales, merchandising, and broadcasting rights.
Over the years, the eSports industry has seen incredible growth in terms of audience and revenue. The increase in revenue is mostly due to an increase in viewing – and not just because those viewers earn income. Companies are investing in eSports marketing, both directly and indirectly, since they see the opportunity to reach a large and engaged audience. ESPN, BT Sport, and YouTube have all invested in eSports, assisting the sport's growth. To increase audience and investment, professional eSports leagues such as the Overwatch League, Intel Extreme Masters, and League of Legends Masters Series are being developed. Established brands such as Adidas, VISA, and Pepsi are boosting non-endemic sponsorship for eSports events as they have managed to grab the millennial audience, which is vital for huge advertisers. Thus, the increasing popularity of video games and eSports is expected to drive the growth of the global entertainment & media market during the forecast period.
The rising demand for more efficient and faster mobile networks from end users has contributed to the overall demand for 5G network connectivity and its development. Companies such as AT&T and Verizon have established 5G test sites in cities such as Dallas, Atlanta, Sacramento, and Los Angeles. 5G technology is expected to be commercially deployed in the US by 2022. To accelerate deployment, governments in countries such as India have launched efforts like as the 5G India Forum (5GIF). The arrival of 5G technology is expected to significantly alter the entertainment and media industries. It will be 10 times faster than 4G technology, making downloading videos, music, and games from the Internet almost instantaneous. The technology is also expected to improve user experience across all platforms, such as gaming consoles, smartphones, desktops, and smart Televisions. 5G is projected to pave the way for augmented and virtual reality apps, as well as a completely new channel for reaching consumers. Gaming will almost certainly be at the forefront of 5G-enabled innovation. Mobile cloud gaming will also benefit from fast responsiveness and high-resolution, real-time streaming.
The introduction of 5G will enable the process of live streaming 4K videos, which will improve the user experience for both users and content broadcasters. It will enable more devices to connect to content delivery networks, improving the overall content distribution process. Due to the implementation of 5G, the better user experience of video streaming platforms, gaming platforms, and mobile gaming platforms is likely to attract more advertisers, marketers, and brands, creating lucrative opportunities for stakeholders in the global entertainment & media market.
For a long time, content piracy has been a severe problem in the entertainment and media industries. Piracy has impacted various industries, including stock photography, music, cinema, and video games. In recent years, the increased commercialization of the Internet has resulted in an upsurge in digital piracy. Individuals can readily pirate copyrighted content since the Internet allows for anonymous communication and easier access to the content. The availability of digital content has been one of the leading sources of piracy worldwide. Unavailability of media due to varying release dates, region formats, location blocks, scarcity, and a lack of distribution methods has encouraged people to access content illegally. These factors, together with high pricing and user reluctance to pay for freely available information, have driven the spread of digital media piracy even further. The difficulty of ISPs to entirely prohibit torrent websites offering pirated content has exacerbated losses suffered by entertainment and media organisations. Piracy of digital content largely harms content providers' sales. According to the digital piracy authority MUSO, for example, online cinema piracy in India grew by 62% in March 2020 compared to February 2020. Film piracy increased by 41% in the United States, 43% in the United Kingdom, 50% in Spain, and 66% in Italy.
Worldwide, piracy site visits increased by 21.9% in 2022 compared to 2021, growing from 116.24 billion to 141.7 billion. After the United States and Russia, India is rated third in terms of visits to content piracy websites, with over 7 billion (7,99,071,291) accesses through torrent sites in 2022. The following media sectors cover piracy.
TV Content grew by 19.2%Cinema grew by 42.5%Music grew by 13.9%Software grew by 9.6%
Small creators have been particularly badly struck by piracy by video streaming sites during the closure. Because there is no box office to evaluate a film's worth, filmmakers and VoD providers are likely to collaborate on a revenue-sharing basis in some cases, splitting revenues based on how well the picture performs on the OTT platform. Piracy of these services has cost them a sizable amount of their revenue. As a result, digital content piracy is likely to impede the global entertainment & media market's growth throughout the forecast period.
The increasing popularity of video games and e-sports and the increasing penetration of smartphones are the key factors driving the growth of the global market for media & entertainment. However, piracy is the major restraining factor as well as cyber security threats, taxation, laws/regulations, and licensing creating challenges for the market. On the other hand, the development of 5G technology and adoption of blockchain technology in entertainment and media is expected to create a lucrative growth opportunity for the players operating in the global market.
Near-term growth will likely concentrate in modular bioreactor lines and closed-system media workflows that shorten validation cycles while preserving batch traceability.
Partnerships between CDMOs and instrumentation vendors should accelerate standard datasets for comparability across sites, improving forecasting models used in capacity planning.
Longer horizon, organoid and microphysiological adoption may reshape segment mix; teams that invest early in assay interoperability and cloud QC hooks are better positioned to capture upside without fragmenting their analytics stack.
Profiles of 108 companies operating in the Entertainment & Media Market market, including revenue, employee count, and market positioning where available.
Showing 108 of 108 companies
Paramount Skydance is the reconstituted form of one of American media's oldest asset stacks — Paramount Pictures (1912), CBS (1927) and the Viacom cable portfolio — now controlled by the Ellison family through a non-voting public float. It is simultaneously a declining legacy business and an aggressive consolidator. Roughly half of revenue still comes from linear TV Media, which is shrinking mid-single digits annually but throwing off 30%-plus segment margins under severe cost discipline. Growth is concentrated in Direct-to-Consumer, where Paramount+ reached 81.6 million paid subscribers in Q2 FY2026 on the back of an exclusive seven-year UFC rights deal. The defining strategic fact is the pending $31-per-share, roughly $111 billion enterprise-value acquisition of Warner Bros. Discovery — signed February 2026, cleared in 65-plus jurisdictions, and now blocked pending a March 2027 US antitrust trial. Everything about the equity story is subordinate to that binary outcome. *FY2023 figure is Paramount Global's employee population as of 31 Dec 2023 (approximately 22,300, comprising full-time, part-time and temporary employees), disclosed in the FY2025 Form 10-K/A pay-ratio methodology. FY2025 figure is from Form 10-K FY2025, Item 1 (Human Capital Management). Note that the FY2023 and FY2025 populations are not defined identically. Separately, the Q4'25 shareholder letter states that the Telefe and Chilevisión divestitures together streamlined operations by roughly 1,600 people.* **Shares outstanding** *Source: Form 10-Q for Q2 FY2026, cover page.* **Market capitalization.** Approximately $9.8 billion as of 5 August 2026 per Macrotrends; approximately $12.9 billion as of a Barchart note earlier in 2026; $11.96 billion at a $10.69 share price on 12 May 2026 per WallStreetZen. The Class B closed at $13.40 on 31 December 2025 (Form 10-K/A, used for equity-award valuation). The 52-week range as reported in May 2026 was $8.62–$20.86. The wide dispersion across sources reflects genuine, extreme price volatility through the Warner Bros. Discovery contest and the subsequent antitrust litigation, not a data error; market cap should be re-marked at the time of use. --- ### The company's own characterization The FY2025 Form 10-K opens with a deliberately brand-led description: Paramount is a global media and entertainment company whose portfolio includes Paramount Pictures, Paramount Television, CBS, CBS News, CBS Sports, Nickelodeon, MTV, BET, Comedy Central, Showtime, Paramount+, Pluto TV and Skydance Media's animation, interactive/games and sports divisions. The Q2 FY2026 Form 10-Q updates the roster to add Paramount Sports Entertainment and Paramount Games Studio and to re-label the Skydance units as Skydance Animation, Film and Television. In its own filings the company describes itself as "fundamentally a content company," a framing it uses specifically to justify the weight it places on trademark, copyright and other intellectual-property protection. ### Independent characterization Paramount Skydance is best understood not as a single business but as three businesses with divergent economics, bolted onto a holding-company balance sheet that is currently being used as an acquisition vehicle. **First, a cash-generative melting ice cube.** TV Media — the CBS Television Network, 29 owned-and-operated stations, the domestic cable portfolio, and international free-to-air networks — produced roughly half of group revenue in FY2025. Its revenue declined 9% year-on-year in Q2 FY2026 while its adjusted EBITDA margin *expanded* from 26.4% to 34.0%. Management is explicitly running this segment for cash extraction, cutting average production cost per episode by nearly 10% for the 2025-26 broadcast season while, on its own account, increasing its share of the top-20 series. This is the classic late-cycle linear playbook and it is being executed well. **Second, a scaling subscription platform.** Direct-to-Consumer combines Paramount+ (subscription, two tiers), Pluto TV (free ad-supported streaming, or FAST) and, until its Q2 FY2026 absorption into Paramount+, BET+. Paramount+ revenue grew 16% year-on-year in Q2 FY2026, with management attributing roughly one-third of growth to subscriber additions and two-thirds to ARPU expansion. DTC adjusted EBITDA reached $366 million in Q2 FY2026, a 14.8% margin, up 44% year-on-year. Critically, part of that margin gain is a non-recurring accounting benefit: the pushdown revaluation reduced the carrying value of content assets, mechanically lowering amortization expense. Analysts should discount reported DTC margin improvement accordingly. **Third, a studio in acknowledged rebuild.** The Studios segment (film plus television production plus games) swung from a $31 million adjusted EBITDA loss in Q2 FY2025 to a $36 million profit in Q2 FY2026. Management has been unusually candid that it inherited an underperforming slate, doubling theatrical output from eight releases in 2025 to 15 in 2026 and targeting 15-plus annually thereafter — but with CEO David Ellison stating on the Q4 FY2025 call that the two-year tentpole development cycle means franchise economics do not materially improve until 2027 and beyond. ### Revenue model The company disaggregates revenue into four contractual streams. Using the FY2024 mix as the last clean full-year proxy (aggregator data derived from the Paramount Global 10-K): The FY2025 disaggregation is complicated by the Predecessor/Successor split.* The economic implication is that roughly 80% of revenue is recurring or contractual (affiliate fees, retransmission consent, reverse compensation, streaming subscriptions) and roughly 35% is cyclically exposed advertising. Advertising is also structurally biased: political spending in even-numbered years and marquee sports events (Super Bowl rotation, NCAA Division I Men's Basketball Tournament) create material year-to-year swings that management repeatedly flags as comparability headwinds. ### Value chain position and customers Paramount Skydance is vertically integrated from IP creation through to owned distribution, but it is not fully self-sufficient at either end. Upstream it competes for creative talent through first-look and overall deals and acquires third-party content, including a strategy — new under the current leadership — of commissioning Paramount+ originals from external studios (A24, MGM Television, SISTER). Downstream it distributes through owned platforms (Paramount+, Pluto TV, CBS, cable networks, O&O stations) *and* licenses aggressively to direct competitors: recent named counterparties include Netflix, Amazon, Apple, Tubi and Tencent. Customer types are therefore fourfold: (i) consumers paying subscription fees; (ii) advertisers and media agencies; (iii) distributors — MVPDs, virtual MVPDs, affiliated broadcast stations and international platform partners paying carriage, retransmission and reverse compensation; and (iv) other studios and streamers licensing content. End-markets served are US broadcast and pay television, global SVOD and FAST streaming, theatrical exhibition, home entertainment, consumer products and licensing, live events, publishing and, newly, interactive games.
Company Headquarters: Germany Founded: 1835 Workforce: ~17,377 Company Working: Bertelsmann SE & Co. KGaA (Bertelsmann) is an education, media, and services company who along with its subsidiaries, engages in television broadcasting, magazine publishing, e-learning, music rights, and services businesses. The operating divisions of the company include RTL Group, Gruner + Jahr, Penguin Random House, BMG, Bertelsmann Printing Group, Bertelsmann Education Group, and Bertelsmann Investments. The RTL Group deals with television broadcasting, the Penguin Random House engages in trade book publishing, Gruner+ Jahr involves in magazine publishing, BMG is the music service provider, Arvato offers SCM, financial, and IT solutions and services to the clients, the Bertelsmann Printing Group deals with printing activities, Bertelsmann Education Group engages in providing education services, and Bertelsmann Investments deals with funds. The company has a presence in more than 50 countries, with major operations in Western European countries such as Germany, France, the UK, and the US.
Company Headquarters: US Founded: 1963 Workforce: ~189,000 Company Working: Comcast Corporation is a media and technology company that provides video, Internet, and phone services to its customers. The company operates through three primary segments: Comcast Cable, Sky, and NBCUniversal. Comcast Cable has one reporting sub-segment, namely, cable communications. NBCUniversal has four reportable sub-segments: broadcast television, cable networks, theme parks, and filmed entertainment. The cable communications segment provides high-speed Internet, video, security and automation, and voice services under Xfinity’s brand name. The cable networks segment covers national cable networks, news networks, regional sports, cable television studio production operations, and international cable networks. The broadcast television sub-segment provides Telemundo broadcast networks and NBC. The theme parks segment comprises Universal theme parks in Orlando, Florida, Hollywood, Osaka, Japan, and California. The filmed entertainment segment consists of production, acquisition, distribution, and marketing of filmed entertainment. The Sky business segment comprises a direct-to-consumer business’s operations, providing video, high-speed Internet, voice, and wireless phone services. The corporate & other segment includes operations of other business such as Comcast Spectacor and wireless phone services. The company has a high presence in the North American and European regions. It is a public company listed on the NASDAQ Stock Exchange as NASDAQ: CMCSA.
Company Headquarters: California, US Founded: 1923 Workforce: 201,000 Company Working: The Walt Disney Co. is an international family entertainment and media enterprise. It operates through the following business segments: media networks, parks & resorts, studio entertainment, and consumer products and interactive media. The media networks segment comprises cable and broadcast television networks, television production and distribution operations, domestic television stations, radio networks and stations. The parks and resorts segment overlook the operation of the Walt Disney World Resort in Florida; the Disney Vacation Club; Aulani, a Disney Resort & Spa in Hawaii; the Disneyland Resort in California; the Disney Cruise Line; and Adventures by Disney. The studio entertainment segment involves the production of live-action and animated motion pictures, direct-to-video content, musical recordings and live stage plays. The film produced are distributed under the Walt Disney Pictures, Pixar, Marvel, Lucasfilm, and Touchstone banners. The consumer products and interactive media segment authorizes the company's trade names, characters, and visual and literary properties to the manufacturers, game developers, publishers, and retailers across the globe. This segment also includes published magazines and comic books, games developed primarily for mobile platforms, and distribution of branded merchandise directly via retail, online and wholesale businesses. The company has a wide geographic presence across the North America, Europe, Asia-Pacific, Latin America, and the Middle East & Africa.
Company Headquarters: US Founded: 2013 Workforce: ~ 28,000 Company Overview: News Corporation (News Corp.) is a media and information services company that focuses on developing and distributing content for consumers and businesses globally. The company operates mainly through four business segments—book publishing, news and information services, digital real estate services, and subscription video services. The company’s news and information services segment cover News Corp Australia, Dow Jones, the New York Post, News UK, and News America Marketing that offers news and information for the consumers. The book publishing segment consists of HarperCollins, a consumer book publisher having operations across 18 countries. In 2018, HarperCollins provided around 100,000 publications in digital formats. The company’s subscription video services segment offers entertainment, sport videos, and news services to subscribers through satellite, cable and internet protocol (IP). The company delivers its content through several distribution platforms including traditional platforms such as television and print and through digital platforms including websites, social media platforms, e-books, and applications for mobile devices.
Company Headquarters: China Founded: 2000 Workforce: ~37,779 Company Working: Baidu, Inc. is a leader in web search in China. In addition to web search, the company provides several popular community-based products, including Baidu Post Bar, the world’s first and the largest Chinese-language query-based, searchable online community platform, Baidu Knows, the world’s largest Chinese-language interactive knowledge-sharing platform, and Baidu Encyclopedia, the world’s largest user-generated Chinese-language encyclopedia. Beyond these, the company offers its services in navigation, image search, and video search, among many more. It offers a media platform for online marketers through its website partner, Baidu Union. Baidu Union directs traffic to the marketers by integrating the company’s search box into their websites and/or by displaying relevant contextual promotional links for customers. Most of the total revenue is derived from performance-based online marketing services, whereby the company’s customers pay on a cost-per-click basis by clicking on the paid link. Beyond China, Baidu, Inc. has its presence in other markets such as Brazil, Egypt, Indonesia, Japan, and Thailand.
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Account and Business Manager, EFS-Holland BV
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Management Consultant, Level 21
I am very pleased with how market segments have been defined in a relevant way for my purposes (such as "Portable Freezers & refrigerators" and "last-mile"). In general the report is well structured. Thanks very much for your efforts.
Group Product Manager HVAC & Fire Protection GMA, Rockwool
I have been reading the first document or the study, the Global HVAC and FP market report 2021 till 2026. Must say, good info! I have not gone in depth at all parts, but got a good indication of the data inside!
R&D Director, Seojin
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Historical performance and future projections (2020–2030, USD Billion)
