“THE NUMBER of people who are in a new size is pretty staggering,” Chip Bergh, the head of Levi Strauss, admitted in June. After more than a year of on-and-off lockdowns, the denim-maker told the Associated Press that a quarter of customers no longer fit in their jeans.
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The long spell on the sofa may have been bad for the world’s waistlines, but it has been a golden era for the industries that provide in-home distractions. As entertainment options outside the home were shut down, and commuting gave way to home-working, people had time on their hands. Consumption of everything from books and podcasts to music and video games shot up (see chart).
Now, as vaccines begin to do their job, governments in many rich countries are starting to lift stay-at-home orders, and people are venturing back out. Offices are reopening, restaurants are taking orders and live audiences are back, everywhere from Cannes to Wimbledon. Our “normalcy index” shows that life in many of the 50 countries included is creeping back to business as usual.
As the amount of spare time at home starts to shrink, the attention boom of 2020 is giving way to what Mark Mulligan of MIDiA Research, a firm of analysts, dubs an “attention recession”. The squeeze on free time means that media companies are now all asking the same question, says Brendan Brady of Antenna, a company that measures video-streaming subscriptions: “Is this now a period of stability? Or are we going to fall off a cliff?”
The average full-time worker gained about 15% more spare time during the pandemic, according to a survey by MIDiA of consumers in America, Australia, Britain and Canada. Not only did they have more time, but those who kept their jobs had more money, too. Americans’ spending on recreation such as sports, theme parks and holidays, fell by 30% in 2020.
Instead, people turned to their screens. In Britain, the time people spent online last year (including television streaming services) rose by more than half an hour a day, to nearly five hours, according to Ofcom, a communications regulator. Being connected became essential. At the start of the pandemic one in ten British homes lacked internet access, but since then about half of those have gone online. Seeking new distractions, smartphone users around the world installed 143bn new apps, a quarter more than in 2019 (and more than double the previous year’s rate of growth), according to Craig Chapple of Sensor Tower, which monitors app stores.
The biggest share of the extra screen-time went to television: video-viewing rose by about 80 minutes a week in rich countries, finds MIDiA. Video-gaming saw the biggest proportional jump, as people devoted an extra hour per week, or 30% more time, to games. Listening to music edged up by 5%, while podcasts and audiobooks rose by nearly a quarter.
Books of the printed variety also got a boost. In Britain, four out of ten people reported that they were reading more than they used to, according to Nielsen, a data firm. The jump was most pronounced among young people, particularly women, who spent 50% more time reading than they did before the pandemic. Some of this was escapism, but much of the reading had a practical motive: cooking and gardening books were the top choices in non-fiction, while in children’s books, home-learning saw the biggest increase.
As spare time dries up, the question is which of these newly acquired habits will stick and which will be dropped. In the ultra-competitive video-streaming market, there are early signs that audiences may be cutting back. The average number of streaming services used by viewers in America is falling for the first time, according to Omdia, a research firm. In April the typical viewer used 7.06 services (including free ones), down from 7.23 in November. Worldwide, 5m people signed up to Netflix, the market leader, in the first quarter of the year, down from 15m in the same period in 2020. Disney+, a leading rival, also undershot analysts’ sign-up forecasts.
Yet the main losers in the attention recession, when it comes to viewing, will be old-school formats. Cable-viewing in America, long in decline, rose slightly during the depths of 2020’s lockdown. But reopening has set it sliding faster than ever: by 23% year on year in the second quarter of 2021, according to MoffettNathanson, a firm of analysts. Viewership of American broadcast television dropped by the same amount. And although most cinemas have reopened, the year-long disruption was enough to persuade film studios to change the way they do business. Some now release their new blockbusters on their streaming services on the same date that they make their cinema debut. The long “theatrical window”—the three months when a new film could only be seen on big screens—has been permanently cut short (see Business section).
As well as hastening the switch from old to new formats, covid-19 has shown how different sorts of media increasingly compete with each other for consumers’ attention. Until a decade ago, people accessed different media using different hardware: TV sets for video, computers for gaming, stereos for music. Today all varieties are delivered by smartphone.
People don’t have a specific slot in their schedule for video, says Emmett Shear, chief executive of Twitch, a live-streaming company. Instead, “People think about, ‘Where am I going to get entertainment?’… and they go to the service that is providing the most of that.” As lockdowns lift, he adds, Twitch’s main competitors will probably be basketball, frisbee and the park.
The competition between different types of media is clearest in audio. During the downtime of 2020 people listened to more of everything, from music to podcasts and audiobooks. But music’s share of overall listening time went down. At the start of the pandemic, podcasts and audiobooks accounted for a fifth of all listening. By the end of last year their share had risen to a quarter, says MIDiA. As listening time returns to pre-pandemic levels, some evidence suggests that people are sticking with these new choices, and cutting back on music to make way for them. Spotify said in April that podcasts had nibbled away at music to reach an all-time high in their share of customers’ total listening.
The rebalancing from music to podcasts suits streaming companies. Whereas they license most of their music from record companies, which own the rights to songs, they are increasingly commissioning podcasts of their own. This gives them both a way to differentiate themselves from their competitors—“Call Her Daddy” and “The Joe Rogan Experience” are exclusive to Spotify, for instance—and to increase their profit margins. Mr Mulligan notes that Amazon has an opportunity to differentiate its own audio offering by combining Amazon Music, its music- and podcast-streaming service, with Audible, its audiobook company.
The single biggest new media habit to be formed during the pandemic appears to be gaming. The extra hour per week that people spent gaming last year represented the largest percentage increase of any media category. And unlike other lockdown hobbies, it is showing no sign of falling away as life gets back to normal. It has become “a sticky habit”, says Craig Chapple of Sensor Tower. He finds that last year people installed 56.2bn gaming apps, a third more than in 2019 (and three times the rate of increase the previous year). The easing of lockdowns is not denting the habit: the first quarter of 2021 saw more installations than any quarter of 2020. Roblox, a sprawling platform on which people make and share their own basic games, reported that in the first quarter of this year players spent nearly 10bn hours on the platform, nearly twice as much time as they spent in the same period in 2020.
Gaming’s popularity rests most heavily on Generation Z—roughly, under-25s—who account for most of Roblox’s users. A poll in February by Deloitte, a consultancy, found that whereas all other generations of Americans named television and films as their favourite form of home entertainment, Generation Z ranked them last, after video games, music, web browsing and social media. In time, “the dominant position that video entertainment has held could be challenged,” Deloitte argues.
The changing shape of post-lockdown life can also be seen through social media. People spent an extra 40 minutes a week on social networks last year, as well as an extra half-hour consuming news, sometimes via social-media platforms. In April this year Facebook said that the increased levels of engagement it had seen in 2020 were subsiding as lockdowns eased.
Snapchat, on the other hand, reported the opposite. Evan Spiegel, chief executive of Snap, the app’s developer, told investors that as lockdowns lifted in America in late February, the amount of content posted on it increased. Since the end of March, he said, there had been a rise in the rate of new friendships, as people began to socialise more in real life. “There doesn’t seem to be much concern that social-media usage will meaningfully erode as economies open up,” notes Michael Nathanson of MoffettNathanson in an analyst’s note. “With people able to meet more in person, it may indeed increase.”
Perhaps the most obvious winner among social networks will be dating apps. Match Group, which owns several such outfits including Tinder, reported that new sign-ups fell last year in April, as covid-19 arrived, and again in December, amid the virus’s second wave. But now people seem to be making up for lost time. So far this year sign-ups are running about 10% higher than they were before the pandemic. In February nearly 20% more messages were sent than a year earlier. As people’s attention turns from the screen back to real life, Match has told investors to look forward to a “summer of love”. ■
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All our stories relating to the pandemic and the vaccines can be found on our coronavirus hub. You can also listen to The Jab, our podcast on the race between injections and infections, and find trackers showing the global roll-out of vaccines, excess deaths by country and the virus’s spread across Europe and America.
A version of this article was published online on June 27th 2021
This article appeared in the International section of the print edition under the headline “The attention recession”
Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.
Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.
NEW MOVIES TO STREAM SEPT. 9-15
— Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.
— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.
— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”
NEW MUSIC TO STREAM SEPT. 9-15
— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”
— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.
— AP Music Writer Maria Sherman
NEW SHOWS TO STREAM SEPT. 9-15
— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.
— Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.
— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.
— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.
NEW VIDEO GAMES TO PLAY
— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.
— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.
Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.
Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.
Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.
Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.
Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.
Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.
Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.
As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.
Cochise County, AZ — Law enforcement officials in Arizona have apprehended Ronald Lee Syvrud, a 66-year-old resident of Cochise County, after a manhunt was launched following alleged death threats he made against former President Donald Trump. The threats reportedly surfaced in social media posts over the past two weeks, as Trump visited the US-Mexico border in Cochise County on Thursday.
Syvrud, who hails from Benson, Arizona, located about 50 miles southeast of Tucson, was captured by the Cochise County Sheriff’s Office on Thursday afternoon. The Sheriff’s Office confirmed his arrest, stating, “This subject has been taken into custody without incident.”
In addition to the alleged threats against Trump, Syvrud is wanted for multiple offences, including failure to register as a sex offender. He also faces several warrants in both Wisconsin and Arizona, including charges for driving under the influence and a felony hit-and-run.
The timing of the arrest coincided with Trump’s visit to Cochise County, where he toured the US-Mexico border. During his visit, Trump addressed the ongoing border issues and criticized his political rival, Democratic presidential nominee Kamala Harris, for what he described as lax immigration policies. When asked by reporters about the ongoing manhunt for Syvrud, Trump responded, “No, I have not heard that, but I am not that surprised and the reason is because I want to do things that are very bad for the bad guys.”
This incident marks the latest in a series of threats against political figures during the current election cycle. Just earlier this month, a 66-year-old Virginia man was arrested on suspicion of making death threats against Vice President Kamala Harris and other public officials.
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