Jessica Ryan

The scale of differentiation necessary to produce an MVIP has historically been determined based on the past behavior and preferences of demand.  People liked to consume IP via books, movies, TV shows and comic books, not via an outline, or a few chapters, or a single picture.

Now, however, the disruption of traditional IP distributors via streaming and social media networks allows IP owner to have more flexibility in terms of production and distribution.

Lil Nas X, for example, is able to distribute his music (his IP) instantly by publishing a song (‘Old Town Road’) on SoundCloud and have it explode in popularity via remixing and UGC on TikTok. Previously, he would have had to wait to be discovered by a record label, who then would decide when to release his music and in what form factor — most likely as an album rather than a single.

Copy. Composition. Master. Royalties. PRO. Sync.

More broadly, many OnlyFans creators now treat sites such as Reddit, Imgur, Instagram, TikTok, and Twitter as “front doors” for OnlyFans customer acquisition.

Also: [As an aside: OnlyFans 80% revenue share rate is practical only because it does not offer App Store-based billing (which would take 15-30% of revenue off the top). In fact, neither iOS App Store nor Google’s Play Store even allow for pornographic apps. Usually, such a ban would destroy a media platforms’ business model, but browser-based experiences are fine for viewing photos and videos and sending messages (in contrast, most games can’t even run). And while apps tend to offer better user experiences and far simpler payment processes, most OnlyFans customers aren’t dissuaded by the need to use a browser, nor the extra hoops involved in manually entering a credit card number (again, this is less true for casual games or ecommerce).]

To minimize churn, many benefits (e.g. back catalogues) are only available to long-running subscribers.

“In the entertainment industry, the various genres tend to live in separate and isolated ecosystems,” Isaacs said in a statement. “As a producer and builder of worlds, I’m interested in bringing people together. The artists we work with refuse to limit their vision to any one sector, and Octoverse Media will be there to support them regardless of genre.”

“The League doesn’t ask patrons to rank the primary driver in their ticket purchase. (Individual shows sometimes do in their own research surveys. I’ve heard various figures from producers throughout the years—and most are similar to what I found. Though it has varied to a certain extent show to show.) That’s what I asked of people—what truly drove their purchase. I went to musicals as well as plays from last spring to this fall; I did not poll at any show running over two years. For Shucked, a show that several people told me greatly benefited from influencers, I spoke to twenty people during previews and then another fifteen people later in the run. In total, two of 200 people I spoke to said an influencer was the primary reason they purchased a ticket. Both of those people were under 30. Several others had seen influencer content, but that content was not the primary reason they purchased tickets. (Source material, stars, personal recommendations, and press topped the reasons; show specific obviously.)

There are likely many reasons that influencers are not driving ticket sales. According to the League, last season the average theatergoer was 40.4 years old, older than the typical influencer target. Theater tickets are generally expensive, so it may take more than one person’s word to take the plunge and buy. But, additionally, most influencers that push theater consistently are so-called "theater influencers" and primarily have their content pushed to theater fans.”