WPP sells 60% of market research giant Kantar to Bain, valuing Kantar at $4B

Some M&A is afoot in the world of market research and analysis: WPP today announced that it would sell 60% of Kantar — the firm that provides stats and insights on how consumers buy and think of products in services in areas like technology, media, health and more (we’ve written many a story on TechCrunch citing Kantar figures) — to Bain Capital, the private equity firm. The all-cash transaction is expected to net Kantar $3.1B — minus tax and continuing investments that it will make in Kantar after the deal — and it values Kantar at $4 billion (or £3.2 billion), London-based WPP said.

The deal is a biggie that caps off months of speculation, after WPP announced in October 2018 that it planned to look for an outside investor to take a stake in Kantar, in part to raise some revenue from the transaction, and in part to have fresh investment in the operation. The plan had always been for WPP to keep a stake, since there are a lot of areas where Kantar works with other parts of WPP, one of the world’s biggest advertising agencies.

Others who had been interested in buying the stake reportedly also included CVC, Apollo and Platinum.

The partial divestment underscores both how WPP has been reorganising and redefining itself in the wake of the departure of its longtime CEO and figurehead Martin Sorrell last year, who resigned under a cloud of controversy.

Mark Read, who took over as CEO in the wake of that, has taken a different approach when it comes to M&A, in part to offset sluggish growth, and this is one product of that.

“Kantar is a great business and we look forward to working with Bain Capital to unlock its full potential. As a strategic partner and shareholder in Kantar, WPP will continue to benefit from its future growth while our clients continue to benefit from its services and capabilities,” Read said in a statement. “I would like to thank [Kantar CEO] Eric Salama, his team and everyone at Kantar for their tremendous contribution to WPP – a contribution that will continue as we develop the business together. This transaction creates value for WPP shareholders and further simplifies our company. With a much stronger balance sheet and a return of approximately 8% of our current market value to shareholders planned, we are making good progress with our transformation.”

As ever more of our media consumption moves to digital platforms, companies like Kantar that have been built to track that activity have had an opportunity to growth their positioning and relevance to the bigger picture of how media is used.

Others that compete against it in this area include Nielsen and comScore. The latter has had a more challenging time of it, however, with a sizeable amount of corporate upheaval and a tumbling stock price: it recently announced that it would be raising up to $50 million to rebuild and recapitalise its business.

“Our new ownership structure presents a great opportunity for Kantar, our employees and our clients. In Bain Capital we have a partner who shares our ambition, brings relevant expertise and – with WPP – can help us accelerate our growth and impact for clients,” said Salama, in . “We are focused on delivering ‘human understanding at scale and speed’ and the ‘best of Kantar’ more consistently. We will do so by investing more in talent and by becoming a more technology-driven solutions provider.”

It’s not clear whether Bain was chosen as the highest bidder, or because it looked like the best partner for the deal in terms of common strategic goals, or a combination of both.

In any case, the plan will be to expand the business through more investments and acquisitions.

“Kantar is a market leader in many areas and we are excited to be partnering with its management team and WPP to build on this remarkable platform for growth,” said Luca Bassi, an MD at Bain Capital Private Equity, in a statement. “We see many opportunities for expansion and will invest in technology to expand the company’s capabilities and reinforce its global leading position.”

“We believe that we are well-positioned to support Kantar, alongside WPP, in driving forward the business in a rapidly changing industry,” added Christophe Jacobs van Merlen, another MD. “Our deep sector knowledge, operational expertise and strong track record of partnering with management teams to accelerate growth gives us confidence that we can help Kantar grow both organically and by acquisition.”

Other tech/media holdings in the Bain Capital portfolio include I Heart Media and ADK, an Asian ad agency.

Can Product Culture Save Media? by Anita Zielina

Anita Zielina’s keynote at this year’s MTP Engage Hamburg addresses the question of whether “product culture” can save the media industry. Anita, who is director of innovation and leadership at the Craig Newmark Graduate School of Journalism at CUNY, focuses on the underlying problem of how to change organizations that do not want to change and she shares exciting insights into the challenges of digital transformation at publishing houses, challenges which could easily apply to other not-yet disrupted industries.

Sales of daily newspapers have dropped by more than 50% since the early 90s, journalism therefore needs to find innovative ways to make money. Organization culture is key to a successful, competitive digital strategy.

Media Houses Struggle to Change Culture

Anita shares insights into why most media houses struggle to change their culture. She says it’s all about building a strong product culture that allows them to innovate and answer the following questions:

  • What do you build?
  • Who builds it?
  • How do you build it?
  • Why do you build it?
  • When do you build it?
  • How do you measure (success)?

She says that while user centricity and user data are central to all strategic decisions in user-centered tech companies and startups, journalists hunt for the next big scoop in a non-collaborative, glorified lone-wolf approach. A culture of failure does not come naturally to media organizations whose success is based on news coverage.

Without innovation failures you just can’t have innovation successes.

Anita also highlights a few examples that show successful change. Changing the organization’s mindset remains critical to building a rock-solid product culture essential for sustainable and successful growth. This is a tough but achievable change requirement, not only for the media industry but also for all other legacy organizations.

The post Can Product Culture Save Media? by Anita Zielina appeared first on Mind the Product.

YouTube is giving creators more ways to make money

YouTube is rolling out more ways for its creators to engage fans and generate revenue, the company announced today the VidCon event in Anaheim, California. Last year, YouTube used the event to launch new products like channel memberships, merchandise shelves, premieres, and more. This time around, it’s expanding several of those existing options with new features, while also introducing new products like Super Stickers and Learning Playlists — the latter which aims to promote the educational use of YouTube.

Super Stickers, meanwhile, is meant to complement the existing monetization tool, Super Chat.

Launched in January 2017, Super Chat lets fans pay to make their message stand out during a YouTuber’s live stream or Premiere. Today, YouTube says Super Chat is now the number one revenue stream across nearly 20,000 channels — a 65% year-over-year increase.

Over 90,000 channels have used Super Chat to date, with some earning more than $400 per minute, thanks to the feature.

Given Super Chat’s traction, YouTube is introducing Super Stickers, which will launch in the next few months. Fans will be able to purchase these new, animated stickers during live streams and Premieres in order to show creators how much they like their content.

super stickers

The idea for Super Stickers seems to be inspired by gaming site Twitch’s Bits emotes and cheermotes, which also bring animated stickers into chat as a way of supporting video creators. However, YouTube’s Super Stickers will have a different look-and-feel, and will be offered across different languages and categories — including gaming, fashion and beauty, sports, music, food, and more.

At last year’s VidCon, YouTube also introduced Channel Memberships — an expansion of YouTube Gaming’s previous Twitch-like “Sponsorship” model, where fans pay a subscription to gain access to special features associated with a favorite channel.

At present, fans can opt to pay the $4.99 Channel Membership subscription to get unique badges, new emojis and other special perks like access to exclusive live streams, extra videos, or shoutouts. Today, YouTube is introducing a much-requested change to memberships: levels.

With levels, creators can set up to five different price points for memberships, each with their own set of perks. The feature has already been tested by select YouTubers, including the Fine Brothers Entertainment on their REACT channel. Their channel membership revenue increased by 6x after they rolled out two more expensive pricing tiers, YouTube said.

In addition, YouTube is expanding its Merch shelf feature that also launched last year at VidCon. Its debut partner Teespring helped creators to sell merchandise like t-shirts, hats, phone cases, and more. YouTube took a small commission on the sales, but said the majority went to the creator — along with the money made from the merch sales themselves.

Today, the Merch shelf is gaining several more partners, like Crowdmade, DFTBA, Fanjoy, Represent, and Rooster Teeth.

YouTube says “thousands” of channels have more than doubled their revenue thanks to the Merch shelf, Super Chat, and Channel Memberships, since launch.

Beyond the monetization features, YouTube also took time to speak about the educational and inspirational use cases on its site.

LearningPlaylistOverview desktop 1

To make it easier for people to use YouTube to learn something new, the company is debuting a new feature called Learning Playlists, which offers more structure than is available with playlists today. The feature allows educational video creators to divide videos into chapters around key concepts, going from more basic to more advanced. And it hides recommendations from the Watch page — a first for YouTube.

Initially, only a handful of trusted partners get to test this feature, including Khan Academy, TED-Ed, The Coding Train, and Crash Course, to name a few.

Finally, the site’s fundraising tool, YouTube Giving, is preparing to exit beta after a year of testing. The feature will launch in the months ahead and become available to thousands of U.S. creators. Once live, fans can click a Donate button to give to the nonprofit the creator wants to support.

Giving cropped Final2

Ahead of today’s VidCon keynote from YouTube Chief Product Officer Neal Mohan, the company had announced some well-received changes to the site’s copyright infringement tools.

It said copyright owners now have to specify the timestamp in the video their content appears, while creators will be able to use an updated version of YouTube Creator Studio to easily remove the portion of the content associated with the claim.

 

This helps to address situations where the Manual Claiming system was being used (or some would say abused) to claim very short — even only one second long — pieces of content, or incidental content — like when a creator walks past a store that’s playing music, for example. The company had said in April it was looking to address this.

The new system lets creators easily mute the sound when the claimed song plays, replace the song with free-to-use tracks, or quickly trim out the infringing content, instead of taking their video down.

Creators generally welcome the changes and new features that help them better engage fans and make money (or at least, not lose money).

That being said, YouTube is still under scrutiny for its bigger missteps and other practices like the gaming of its recommendation system and its role in creating a pedophilia wormhole; its alleged COPPA violations, which the FTC was alerted to; its ability to radicalize viewers as they’re pointed to ever more extreme content; its contribution to a world where parents exploit their kids for cash; and issues around how it policies “free speech” and hate speech, among other things.

In the grand scheme of things, YouTube has a lot on its plate beyond a few stickers and new ways to sell swag. But these are the sorts of tools that lock in creators to the YouTube platform, even amid threats from other large tech companies like Facebook, Instagram, and now Snapchat, which just announced new creator shows.

David Fincher will direct ‘Mank’ biopic for Netflix

David Fincher will be directing his first feature film since 2014, and he’s making it for Netflix .

The director of “Seven” and “The Social Network” already helped kick off Netflix’s original content boom by directing episodes of “House of Cards” and “Mindhunter.” In fact, the popularity of Fincher’s films on Netflix was famously one of the reasons the streamer’s executives felt comfortable spending hundreds of millions of dollars on “House of Cards.”

As reported in Variety, Fincher’s new film is currently titled “Mank.” It will be a biopic starring Gary Oldman as screenwriter Herman Mankiewicz, who shared credit (and the film’s only Academy Award) with director Orson Welles for writing “Citizen Kane.”

While it’s not clear what stance the film will take towards Mankiewicz and Welles, it’s worth noting that some cinephiles (including the critic Pauline Kael) have argued that Mankiewicz deserves more credit for the greatness of “Kane,” which is commonly described as the greatest movie of all time.

This sounds like a passion project for Fincher, particularly since the initial script was written years ago by his father Jack, who died in 2003.

It’s also a vein of film history that Netflix tapped last year by financing the completion of Welles’ final film, “The Other Side of the Wind.”

How Roblox avoided the gaming graveyard and grew into a $2.5B company

There are successful companies that grow fast and garner tons of press. Then there’s Roblox, a company which took at least a decade to hit its stride and has, relative to its current level of success, barely gotten any recognition or attention.

Why has Roblox’s story gone mostly untold? One reason is that it emerged from a whole generation of gaming portals and platforms. Some, like King.com, got lucky or pivoted their business. Others by and large failed.

Once companies like Facebook, Apple and Google got to the gaming scene, it just looked like a bad idea to try to build your own platform — and thus not worth talking about. Added to that, founder and CEO Dave Baszucki seems uninterested in press.

But overall, the problem has been that Roblox just seemed like an insignificant story for many, many years. The company had millions of users, sure. So did any number of popular games. In its early days, Roblox even looked like Minecraft, a game that was released long after Roblox went live, but that grew much, much faster.

Yet here we are today: Roblox now claims that half of all American children aged 9-12 are on its platform. It has jumped to 90 million monthly unique users and is poised to go international, potentially multiplying that number. And it’s unique. Essentially all other distribution services offering games through a portal have eventually fizzled, aside from some distant cousins like Steam.

This is the story of how Roblox not only survived, but built a thriving platform.

Seeds of an idea

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(Photo by Steve Jennings/Getty Images for TechCrunch)

Before Roblox, there was Knowledge Revolution, a company that made teaching software. While designed to allow students to simulate physics experiments, perhaps predictably, they also treated it like a game.

“The fun seemed to be in building your own experiment,” says Baszucki. “When people were playing it and we went into schools and labs, they were all making car crashes and buildings fall down, making really funny stuff.” Provided with a sandbox, kids didn’t just make dry experiments about mass or velocity — they made games, or experiences they could show off to friends for a laugh.

Knowledge Revolution was founded in 1989, by Dave Baszucki and his brother Greg (who didn’t later co-found Roblox, but is now on its board). Nearly a decade later, it was acquired for $20 million by MSC Software, which made professional simulation tools. Dave continued there for another four years before leaving to become an angel investor.

Baszucki put money into Friendster, a company that pre-dated Facebook and MySpace in the social networking category. That investment seeded another piece of the idea for Roblox. Taken together, the legacy of Knowledge Revolution and Friendster were the two key components undergirding Roblox: a physics sandbox with strong creation tools, and a social graph.

Baszucki himself is a third piece of the puzzle. Part of an older set of entrepreneurs, which might be called the Steve Jobs generation, Baszucki’s archetype seems closer to Mr. Rogers than Jobs himself: unfailingly polite and enthusiastic, never claiming superior insight, and preferring to pass credit for his accomplishments on to others. In conversation, he shows interests both central and tangential to Roblox, like virtual environments, games, education, digital identity and the future of tech. Somewhere in this heady mix, the idea of Roblox came about.

The first release

Unraveling immigration politics and Silicon Valley ethics with Jaclyn Friedman

Immigration may not seem to be a tech issue. But for Americans with some personal or family experience with the idea of separated families and/or concentration camps, it can be hard to see what is currently going on in our names thanks to the U.S. Immigration and Customs Enforcement agency (better known as “ICE”) as anything less than the single most urgent moral or ethical issue in this country today.

This begs a disclaimer: I have Eastern European Jewish family roots in what became the Holocaust. I have a Cuban Jewish mother who came to this country by herself as a young girl refugee and was separated from her family for multiple years due to U.S. immigration policy.

I am a father myself. This piece is personal for me, in other words. If you want to know whether I can be objective here, I would have to admit that seeing repeated images of thousands of children, as young as 4 months old, facing inhumane and abusive conditions in my government’s name and supported by my tax dollars, has been quite possibly the most morally disturbing experience of my life.

Still, given that I write specifically about the ethics of technology here at TechCrunch, is this topic “a fit” for this column? Well, “fortunately,” if not for me or any of us personally, then at least regarding my desire to write up ICE for this column: the Silicon Valley tech industry has a long and deep history of entanglement with undocumented immigrants to this country. And in fact, “thanks” to tech companies such as Palantir, Wayfair, and Amazon Web Services and their present-day collaboration with ICE and its concentration camps, tech and immigration ethics is very much a live topic for today.

It’s also a disturbing and depressing topic. Which is why I’m hoping to offer some hope, by concentrating not only on camps and detentions, but more on a series of innovative and impactful recent protests, in which tech companies played leading roles — both as objects of criticism in some cases and as helpful resources for the critics in others.

First, let’s focus on Palantir. As Manish Singh wrote in TechCrunch in May, “Immigration and Customs Enforcement documents, obtained by advocacy organization Mijente through Freedom of Information Act litigation, note that agents of ICE’s Enforcement and Removal Operations used Palantir’s software to build profiles of immigrant children and their family members for the prosecution and arrest of any undocumented person they encountered in their investigation.”

In other words, along with beds from multibillion-dollar furniture unicorn Wayfair, and web hosting from Amazon, the Peter Theil-funded Palo Alto software power is making this country’s showdown over immigration actively about the tech world, and this Monday, July 8, hundreds of protestors went to Palantir’s offices as part of a week of coordinated activities nationwide.

image1 1

As Mijente campaigns director Priscilla Gonzalez told me, “We noticed the escalation of ICE operations, their invasions of homes, workplaces, and communities, and we began investigating just how people were being monitored and tracked like never before.”

Gonzalez continued, “We found that Palantir’s software allows ICE agents to build profiles of undocumented immigrants filled with personal information like their home address, work address, financial information, social media profile, and more. Palantir is the reason ICE has been able to accelerate its operations, conduct mass raids and rip families and communities apart.”

While it remains to be seen whether such protests will persuade Palantir to drop their contracts with ICE, what is clear is that the trend of staging significant protests against such institutions is only going to grow, as more and more grassroots groups, students, tech workers, faith leaders, elected officials, and others unite to hold them accountable.

Which brings me to my interview for this week.

A few days before the Palantir protest, and less than a week after an employee walkout from the Boston headquarters of Wayfair also drew hundreds of employees and supporters, another major ICE protest took place in Boston. This time, on July 2nd, it was a group of Jewish activists collaborating with Movimiento Cosecha, an organization representing undocumented immigrants.

Echoing yet another protest just a day earlier in which 36 Jewish activists were arrested while protesting an ICE facility in New Jersey, while carrying banners imploring “Never Again Para Nadie” (for no one), in Boston 18 protestors were arrested in similar fashion (multiples of 18 are culturally and religiously significant in Jewish tradition). While the Boston protest was not specifically tied to the tech industry, it was a moving — and telling — example of what tech companies might begin to expect if they continue involvement with ICE.

One of the arrestees in the Boston protest, moreover, was someone I had already been hoping to interview for this column — the nationally renowned sexual ethicist, author, and activist Jaclyn Friedman. As you will see below, Friedman has a lot to say about the intersection of sex, ethics, and tech. She insisted, however, that this interview focus almost exclusively on the ICE protest and the ethical issues behind it. I think the resulting conversation was powerful and educational.

jaclyn 23 683x1024

Greg Epstein: I know you through your work as an expert in sexual ethics, and I’ve been wanting to interview you about work you’ve done on the intersection of sex, ethics, and tech. But then I saw you’d participated in this — what I think may have been a landmark protest — and I had to talk with you about it. Given your background, what led you to participating in this protest?

Jaclyn Friedman: I certainly can and will make connections between what we just did with the Jews Against Ice action [and] sexual ethics, but I honestly just came to it as a human person, and as a Jew who’s just panicked and outraged, and felt a strong need to do something more. This action appealed to me as a Jew, because my activism stems from my Judaism.

That’s where I learned about social justice, where I get the fire in my belly, both in terms of Jewish teachings about tikkun olam, as well as, it just happened the Temple I grew up in was led by the first woman ordained in the modern era, Sally Priesand. [She] was, before I even knew the word feminism, my first feminist role model.

But also obviously the US is running concentration camps, and it’s impossible for me to not take that personally as a Jew. It certainly has everything to do with my work on sexual ethics which is functionally work about bodily autonomy.

If you’re talking about mass incarceration, that’s an issue about bodily autonomy. If you’re talking about concentration camps, it’s certainly an issue about bodily autonomy, and that’s even before we start talking about the amount of sexual assault and molestation that has been allowed to be perpetrated by the folks who are running these detention camps.

Daily Crunch: HBO Max is coming in 2020

The Daily Crunch is TechCrunch’s roundup of our biggest and most important stories. If you’d like to get this delivered to your inbox every day at around 9am Pacific, you can subscribe here.

1. AT&T’s new streaming service HBO Max arrives in 2020, will be the exclusive home of ‘Friends’

Hooray, we don’t have to call it the Untitled WarnerMedia streaming service anymore! Instead, it’s going to be named HBO Max, and it will launch next spring with more than 10,000 hours of content available to subscribers.

The service won’t be limited to HBO content — hence the availability of “Friends” — but the naming indicates how important HBO as a TV brand is to consumers and to parent company AT&T.

2. Visa funds $40M for no-password crypto vault Anchorage

Visa and Andreessen Horowitz are betting even bigger on cryptocurrency, funding a big round for fellow Facebook Libra Association member Anchorage’s omnimetric blockchain security system.

3. Nintendo Switch Lite’s trade-off of whimsy for practicality is a good one

Nintendo revealed a new Switch Lite version of its current-generation console today, which attaches the controllers permanently, shrinks the hardware a bit and adds a touch more battery life. It also takes away the “Switch” part of the equation, because you can only use it handheld, instead of attached to a TV or as a unique tabletop gaming experience.

Opera Opay Nigeria

4. Opera founded startup OPay raises $50M for mobile finance in Nigeria

OPay’s raise tracks greater influence in African tech from China.

5. Flaws in hospital anesthesia and respiratory devices allow remote tampering

Security researchers have found a vulnerability in a networking protocol used in popular hospital anesthesia and respiratory machines, which they say if exploited could be used to maliciously tamper with the devices.

6. Snapchat announces new shows from Serena Williams, Arnold Schwarzenegger and others

The shows will begin airing this month. They’re all exclusive to Snapchat, and many of them come from creators who have a substantial following on other platforms

7. Understanding mental health in Silicon Valley, with professional coach and former investor Jerry Colonna

In a conversation with Connie Loizos, Colonna discusses how previously developed standards of success can impact your ability to lead and find fulfillment at work. (Extra Crunch membership required.)

Snapchat announces new shows from Serena Williams, Arnold Schwarzenegger and others

Snapchat just announced that it’s making shows with big names like Serena Williams, Arnold Schwarzenegger and Kevin Hart, as well as online stars like Emma Chamberlain, Loren Gray, Rickey Thompson, Baby Ariel and FaZe Banks.

Snapchat launched its original content efforts two years ago, and today it’s unveiling a new program called Creator Shows. As  initially announced in the Hollywood Reporter, these will be first-person shows designed around individual creators.

For example, Schwarzenegger will be providing motivational advice in a show called “Rules of Success,” while Thompson will weighs in on fashion and lifestyle trends on “Trend or End” and Gray offers beauty advice on “Glow Up.”

The shows will begin airing this month. They’re all exclusive to Snapchat, and many of them come from creators who’ve a substantial following on other platforms — Chamberlain, for example, was just described in The New York Times as “the funniest person on YouTube.

Rickey Thompson Premieres July 10

“Snapchat has always been my favorite platform to post random and funny things on because it’s so relaxed,” Chamberlain said in a statement. “My favorite part about it is that I get to watch my own Snapchat Stories a few hours after I post them for entertainment…. kind of embarrassing, I know …”

Snap isn’t sharing viewership numbers around its original shows, but it does say that daily time spent watching those shows tripled over the past year.

And as media giants funnel more and more money into original video content, this might be the strategy that Snapchat needs to compete — rather than trying to find the next big-budget hit, it can focus on personality-driven shows from creators with large followings.

New Pinterest features encourage brands and creators to upload more videos

With each passing day, Pinterest and Instagram are looking more and more alike.

Shortly after going public, Pinterest has incorporated new features to make it easier for creators and brands to upload videos directly to the visual search engine. The company says they’ve observed a 31% increase in searches for “inspirational videos” since 2018 and that “Pinners are 54% more likely to say they’re inspired to action by videos on Pinterest compared to videos on other media platforms.”

As a result, Pinterest has introduced a new and improved video uploader, a video tab on business profiles that allow brands to feature all their videos in one place, an analytics tool to help businesses better understand and analyze their traffic and get insights into performance over time, and finally, Pinterest is allowing creators and businesses to schedule videos ahead of time with a new Pin Scheduler tool.

VideoTab

With these new features, the company is encouraging paying users to post actionable and inspirational how-to videos and tutorials tailored to Pinterest users. Because videos on Pinterest surface and resurface over time, the company explained, videos uploaded directly to Pinterest will have a longer shelf life and, in theory, more engagement than if posted to other platforms.

The brand is hopeful new tools intended to support brands and businesses will increase engagement and ad revenue on the platform.

Now a public company, Pinterest has its work cut out for it. Instagram, once just a photo-sharing application, is making it easier for its user to make purchases directly on its app. The Facebook-owned business introduced “Checkout with Instagram” earlier this year, allowing users who tap its product tags on shopping posts to buy items without leaving the app. Pinterest, for its part, introduced features to facilitate in-app shopping late last year.

In order to simplify the in-app shopping experience, Pinterest rebuilt the infrastructure behind its product pins to include up-to-date pricing and stock information, links that take pinners to the retailer’s website and a new “Products like this” category under each fashion and home decor pin.

According to TechCrunch’s Josh Constine, Instagram is also toying with the idea of launching a Pinterest-like public content curation feature called “Collections.”

YouTube lands on Fire TV and Amazon Prime Video arrives on Chromecast, Android TV

It’s nice when people can come together and work through their differences to make it easier to watch stuff. That’s exactly what happened today, when the long-standing detente between Google and Amazon over streaming video services came to an end, with YouTube arriving on Fire TV and Prime Video making its way to Chromecast and Android TV.

Amazon’s second-generation Fire TV Stick, their Fire TV Stick 4K, the Fire TV Cube, Fire TV Stick Basic Edition and Fire TV Edition smart TVs made by partner OEMs will all get support for the official YouTube app globally starting today, and Amazon intends to extend support to even more of its hardware in future. YouTube TV and YouTube Kids will also come to Amazon Fire TV device later this year.

On the Google side, both its own Chromecast devices, as well as partners TVs and hardware that support Chromecast built-in, or that run Android TV, will gain support broadly for Prime Video. Plus, any Chromecast Ultra owners will also get access to Prime Video’s 4,000 title library normally reserved for Prime members only at no additional cost as part of the new tie-up between the two companies.

Prime has been available on some Android TV devices to date, but it’s expanding to a much broader selection of those smart TVs and streaming boxes from today.

This has been a long time coming – several years in fact, with the most recent spat between the two coming as a result of Amazon’s implementation of YouTube on the Echo Show. Then, in May, the companies announced they’d reached an agreement to put the feud behind them in the interest of consumers, which is what resulted in this cross-platform launch today.

Let the streams flow!