Entertainment fandom Monetise fandom, not attention
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The 20,000 Foot View: In the attention economy, entertainment consumption is intertwined and competition straddles formats and genres. The same applies to fandom. Entertainment fans are fans of not just multiple subgenres within one entertainment category, but instead across multiple entertainment formats. These fandom overlaps are crucial to building a full understanding of entertainment audiences, how to target them and for identifying partner strategy.
- All three key digital entertainment currencies are under pressure: money (maturing markets), data (privacy backlash), attention (the coming ‘attention recession’)
- Fandom is entertainment’s next digital currency, but monetisation is unevenly distributed
- Fandom follows a relatively similar pattern across all entertainment categories with a few large subgenres and then a long tail of niches
- Video has the largest fan bases, with of consumers fans of action and comedy. Music has the other two biggest fan bases (pop, rock
- The top games subgenres are action and puzzle significantly less the video’s fourth largest fan base, drama
- Sports has a higher first placed fan base than games (American football, but a more distant second place (soccer,
- Although it is shaped by them, fandom often transcends the normal socio-economic and demographic norms that typically shape entertainment behaviour
- Metal fans strongly over index for fandom of horror, action and thriller video subgenres, as well as for WWE and fight sports
- Country and classical fans both over-index most for being fans of golf
- Sandbox games fans over-index most for niche games and sports
- Games has the second-highest average fan income (AFI) with but the highest share derived directly from fandom
- Music has the second lowest AFI while video has the lowest share from fandom products
Companies and brands mentioned in this report: Bandcamp, Big Hit Entertainment, Discord, Tencent Music Entertainment, Twitch, Universal Music, VenewLive, Weverse