A massive penalty hangs over Facebook’s head, but it otherwise had a very strong Q1 earnings report. Facebook reached 2.38 billion monthly users, up 2.5 percent from 2.32 billion in Q4 2018 when it grew 2.2 percent, and it now has 1.56 billion daily active users, up 2.63 percent from 1.52 billion last quarter when it grew 2 percent. Facebook pulled in $15.08 in revenue, up 26 percent year-over-year compared to Refinitiv’s consensus estimates of $14.98 billion in revenue.
Facebook recorded earnings per share of $0.85 compared to estimates of $1.63 EPS. However, that’s because Facebook has set aside $3 billion to cover a potential FTC fine that it’s still resolving. Without that fine, it would have had an EPS of $1.89. Despite the set-aside, Facebook still earned $2.429 billion in profit, though that’s down from $4.988 a year ago and $6.8 billion in Q4 2018.
Facebook’s share price rose 8.3 percent to $197.84 after closing before earnings at $182.58, way up from its recent low of $124.06 in December. Wall Street seems to have already priced in the potential FTC fine. Facebook has agreed to strict oversight of how it handled user privacy in a 2011 deal with the FTC. It promised to not misrepresent its privacy practices or change privacy controls without user permission, and it’s now negotiating the fine for potentially breaking those terms.
Facebook wrote in its earnings release about the FTC fine that:
“In the first quarter of 2019, we reasonably estimated a probable loss and recorded an accrual of $3.0 billion in connection with the inquiry of the FTC into our platform and user data practices, which accrual is included in accrued expenses and other current liabilities on our condensed consolidated balance sheet. We estimate that the range of loss in this matter is $3.0 billion to $5.0 billion. The matter remains unresolved, and there can be no assurance as to the timing or the terms of any final outcome.”
It’s possible Facebook escapes with a lesser fine that would likely still dwarf Google’s $22.5 million penalty for violating an FTC privacy deal. But it also might have to drag down a future quarter of earnings if the fine ranges as high as $5 billion or larger. Though Facebook does have $45.2 billion in cash and securities on hand to pay that fine and make any necessary acquisitions. Facebook’s headcount grew 36% year-over-year to 37,773 as it staffs up its security team, but it still has a 22 percent operating margin.
Facebook has managed to hold on to its 66 percent daily to monthly user ratio, showing people aren’t necessarily using it less despite all the backlash. It added 39 million daily users, compared to Snapchat’s addition of 4 million in Q1. But Facebook failed to grow past its 186 million daily user count in the US & Canada where it got stuck last quarter, but at least it added 4 million in its lucrative Europe market, plus it had atypically large gains in Asia-Pacific and the Rest Of World regions. As for monetization, Facebook made modest gains in average revenue per user across markets compared to Q3 2018 (excluding the holiday-laden Q4). Europe did especially well, growing ARPU 8.2 percent.
Zooming out, Facebook now has over 2.7 billion total mothly users across its family of Facebook, Messenger, Instagram, and WhatsApp, the same as last quarter. 2.1 billion people use at least one of those apps daily, up from 2 billion last quarter. Instagram Stories, WhatsApp Status, and Facebook Stories on Facebook and Messenger combined each now have 500 million daily users. Facebook also now has 3 million advertisers buying Stories ads across its apps, so the ephemeral format will likely start to contribute meaningful revenue soon.
Color From The Earnings Call
In March, Zuckerberg announced plans for a massive privacy-centric overhaul of Facebook to turn it from just a townsquare into also a “living room”. That means unifying its messaging apps with a backend that supports end-to-end encryption, and promoting ephemerality in content sharing and communication. That could help deter calls for regulation, make Facebook harder to break up, and help it stay ahead of competitors like Snapchat, but will also be a massive product and engineering undertaking.
Today, Zuckerberg focused on providing more details to this plan to expand privacy, encryption, impermanence, safety, interoperability, and secure data storage. He stressed that given people traditionally spend more time communicating and consuming content privately than publicly, strengthening Facebook’s “living room” could boost its business. Zuckerberg noted that since Facebook already doesn’t use messaging content for ad targeting and recent content is more useful for its business, encryption and impermanence shouldn’t be a big risk either. Refusing to store data in countries with poor records of privacy could lead to Facebook being banned there, which Zuckerberg admitted is a major business threat, but one it’s grappled with over content policies for years.
In fact, impermanence is already earning money for Facebook. It said that Instagram Stories was the greatest contributor of additional ad impressions this quarter. And while the Facebook and Instagram feeds are already jammed full of ads with little room for more, Facebook says there’s still room to significantly increase Instagram Stories ad load.
Another highlight of the call was Zuckerberg’s discussion of Facebook’s payments strategy. He confirmed that Facebook plans to build out ways for people to pay merchants through its messaging apps. “So I think that what we’re going to end up seeing is building out payments, which is going to end up being something that we do country by country . . . The goal is to have something where you could do discovery through the broader townsquare-like platforms like Instagram and Facebook, and then you can complete the transactions and follow up with businesses individually and have an ongoing relationship through Messenger and WhatsApp.”
This is the first earnings report of a full quarter following Facebook’s worst-ever security breach in September that impacted 50 million users, shaking confidence in the social network’s privacy and security. It’s also the first full quarter in which Facebook sold its own branded hardware — its Portal video chat device that was well received by critics except for the fact that it was made by Facebook.
Yet the defining story continues to be Facebook’s struggle with claims that its user research and developer platform efforts endangered user privacy and steamrolled competitors in search of growth. That includes TechCrunch’s big scoop that Facebook was paying teens to snoop on their data with a VPN app, which eventually led Facebook to shut down its Onavo user surveillance apps. The fact that Facebook isn’t losing massive numbers of users after years of sustained scandals is a testament to how deeply it’s woven itself into people’s lives.
Years after its Audm acquisition, The New York Times launches its own audio app
Several years ago, The New York Times acquired audio journalism app Audm with the goal of using it as the basis of its own audio product. Today, the media company is unveiling the result of that work with the official debut of New York Times Audio — a new mobile app that combines the publication’s top podcasts, like “The Daily,” “The Ezra Klein Show,” “Hard Fork,” “Modern Love,” “The Run-Up,” and others, with those made exclusively for the new platform. These will range from short news briefs to lifestyle content to narrated longform journalism and more.
Plus, thanks to its $25 million acquisition of the production studio behind “Serial,” the app includes content related to that deal, as well. This includes the namesake show itself, plus new shows from the studio like “The Trojan Horse Affair,” “The Coldest Case in Laramie,” and others, as well as “This American Life,” hosted by Ira Glass, among others.
The Times has heavily invested in audio programming as another way to reach its audience, and particularly those who want to engage with its journalism while on the go — like when commuting, walking their dog, running, or traveling, for example. But, typically, NYT’s content is accessed through the third-party platforms where users already stream their podcasts, like Apple Podcasts or Spotify.
Isolating that content in its own app gives NYT a more direct relationship with its audience, of course, which means it can also collect more data on user behavior, like what people stream and download. (Plus, it could sell its own ads). But its appeal could be limited given that the app will not have a podcast catalog to rival existing platforms, where people already stream their favorite NYT shows, like “The Daily.”
And, with the addition of exclusives to NYT Audio, listeners will have to constantly toggle between apps to hear all the shows they want to tune into — and that’s not necessarily something they’ll want to do.
Even Spotify belatedly realized that its exclusive strategy with podcasts was not paying off. The company once believed it could entice users with big names and could generate its own popular originals by purchasing studios, but it has since pivoted to focus more on being the hosting platform rather than the creator, laying off top podcast execs in the process. NPR also recently canceled four of its podcasts amid its own set of layoffs, which makes for an uncertain market ahead for NYT Audio.
Still, there could be some attraction for NYT loyalists or those who haven’t already made podcast listening a part of their routines, and will see this new app as a sort of value-add on top of their existing subscription. For the crowd willing to give the app a try, there will be a number of new shows to sample.
For starters, there’s a new morning show called “The Headlines,” hosted by Times reporter Annie Correal, that will catch you up on top stories in 10 minutes or less and let you hear from reporters across NYT’s newsroom. Meanwhile, a new short-form series, “Shorts,” will offer lifestyle content like recipe idea, TV and book recommendations, travel inspiration, and tips for living well.
A feature called “The Magazine Stand” will offer a curated selection of narrated longform journalism from other outlets, which is essentially what Audm had provided.
The company says that, as a result of this launch, the standalone Audm app will now be sunset. All existing Audm iOS subscribers will automatically transition to NYT Audio at the same monthly or annual rate, so they can continue accessing their existing narrated article content.
There is also a “Daily Playlist” that pieces together top stories, culture stories and other content into an hour or less and a “Reporter Reads” feature where journalists read their own work and share additional context around the story.
“This American Life,” “Serial” and other shows from Serial Productions are also included, along with sports talk shows from “The Athletic.”
The NYT’s audio app has been in beta testing for roughly a year and half before today’s arrival, and is available to all news subscribers.
The company notes it has no plans to pull any of its existing content from third-party platforms, like Apple or Spotify, as a result of this launch.
The app’s arrifval follows The New York Times’ expanded investment in its own lineup of dedicated mobile apps which now include the popular NYT Cooking app, and, more recently, an updated NYT Games (previously, Crossword), which recently benefitted from its Wordle acquistion.
“We’re thrilled to introduce more people to a new way of experiencing The New York Times,” said Stephanie Preiss, senior vice president and general manager, Audio, in a launch announcement. “Audio journalism has the power to bring stories to life, and our app now allows our audience to take The Times with them — on dog walks, while commuting — in moments when reading isn’t an option. Offering New York Times Audio to news subscribers is just one way we’re adding more value to a Times subscription, in more moments throughout their day,” she added.
The New York Times Audio app is iOS-only.
As of the time of writing, it’s moved up to the No. 5 slot in the U.S. App Store’s News section.
Roku launches new sports hub dedicated to women’s sporting events
Roku is giving sports fans what they want—better access to women’s live sports. The company announced Wednesday the launch of Women’s Sports Zone, a new centralized hub that makes it easier for users to search, discover and stream women’s sports programming, from live games, matches and events to on-demand and free content.
Women’s Sports Zone will provide games from the National Women’s Soccer League, US Women’s World Cup, US Women’s Open, the Ladies Professional Golf Association (LPGA) and more. In addition, fans can watch free female-focused sports content on The Roku Channel, such as the Women’s Sports Network, “The Longshots,” “Prodigy” and “Bring It!” among others.
Plus, the newly launched hub comes as the 2023 WNBA (Women’s National Basketball Association) season tips off this Friday, May 19, giving Roku users the ability to stream all games across channels like ESPN, ABC, CBS and CBS Sports Network, along with streaming services like ESPN+, Paramount+, Prime Video and WNBA League Pass.
The Women’s Sports Zone is located within Roku’s sports experience. Users can scroll down to the “Sports” tab on the home screen to find the new hub. They can also search for “women’s sports” or a favorite team or league in Roku Search or by using Roku Voice with the TV remote.
Demand around women’s sports increases year after year, with 30% of U.S. sports fans saying they’re watching more women’s sports than they were five years ago, per a 2022 study by the National Research Group. Additionally, 85% of sports fans — including 79% of men – agree that it’s essential for women’s sports to continue growing in popularity. Just by looking at the WNBA alone, viewership has grown dramatically for the league. Its 2022 season garnered an average of 416,000 viewers across all networks, making it the most-watched full season since 2006.
“The popularity and demand for women’s sports is greater than ever, and at Roku, we continue to commit to elevating this important programming for our customers,” said Kelli Raftery, Roku’s VP of Global Communications, in a statement. “At a time when it is harder than ever to find what you want to watch, our new Women’s Sports Zone makes it easier for fans to get to the content they love, and it arrives just in time for the tip-off of the WNBA season this Friday.”
Disney+ changes up its release model, plans to launch all ‘Echo’ episodes at once
President of Marvel Studios Kevin Fiege took to the Disney Upfront stage Tuesday to announce that Marvel’s new Disney+ show, “Echo,” is getting a binge release– a first for an MCU series. Disney+ will drop all Season 1 episodes on November 29.
The “Hawkeye” spinoff stars Alaqua Cox as Maya Lopez, a deaf Native American character who has photographic reflexes. She is the adoptive daughter of supervillain Kingpin (played by Vincent D’Onofrio), however, has been known to fight alongside Daredevil, who wants to take down the criminal underworld. It’s reported that Charlie Cox is returning as Daredevil in “Echo.”
This will be the fourth female-led MCU series on Disney+, joining “Wandavision,” “She-Hulk” and “Ms. Marvel.”
Disney’s new binge strategy is a surprising move for the company and follows in the footsteps of rival Netflix, which swears by its bingeable release model as it drives “substantial engagement, especially for newer titles,” Netflix previously said in its Q3 2022 shareholder letter.
Disney+ tested the waters with its Star Wars titles, starting off with “Obi-Wan Kenobi,” which was the first live-action Star Wars show to premiere with multiple episodes. Meanwhile, “Andor” had a three-episode premiere and was the longest live-action Disney+ season with 12 episodes.
It’s likely the company feels the pressure to change up its release approach after losing four million Disney+ subscribers in the recent quarter, bringing the total to 157.8 million. In the first quarter of 2023, the streaming service saw its first subscriber loss, dropping 2.4 million subs.
Disney plans to save $5.5 billion in overall costs, with $3 billion going toward content savings.
The move also comes as Marvel rethinks its game plan. Fiege previously said the studio wants to be more calculated about which MCU projects get released. It’s been argued that many fans are overwhelmed by the wave of superhero shows, and it’s time for Marvel to slow it down a bit.
“It is harder to hit the zeitgeist when there’s so much product out there — and so much ‘content,’ as they say, which is a word that I hate,” Fiege said in an Entertainment Weekly interview. “But we want Marvel Studios and the MCU projects to really stand out and stand above. So, people will see that as we get further into Phase 5 and 6. The pace at which we’re putting out the Disney+ shows will change so they can each get a chance to shine.”
So, instead of airing episodes week to week, the decision to release “Echo” as a complete season looks to be the beginning of a deliberate effort to gradually reduce the MCU release schedule.
During the Upfronts presentation, Fiege also revealed the official premiere date for “Loki” Season 2, which is coming to Disney+ on October 6.
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