Gitnux/Report 2026

Entertainment Industry Statistics

Netflix’s churn finally flipped back to positive globally in 2024 while Paramount+ climbed to 71.0 million subscribers in Q1 2025, setting up a sharper picture of who is gaining retention and why. From TikTok’s 1.55 billion monthly active users and a 50% box office rebound to 1.0 billion paid streaming subs and esports reaching 548.2 million followers, this page connects platform reach, spending, and audience attention across entertainment.
325Statistics
112Sources
13Sections
1Visuals
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November 11, 2026Updated
Entertainment Industry Statistics
Lukas BauerWritten by Lukas Bauer·Edited by Astrid Bergmann·Fact-checked by Peter Sandoval
Published ·Updated
How this report is researched
01Editorial Scope

An editor sets the topic, the inclusion criteria, and the evaluation framework before research starts.

02Source Research

AI search agents locate sources and extract each figure together with the document it came from.

Read our full methodology →

Search agents attach provenance to every extracted figure.

Next review: within 31 days

01 Industry overview

The entertainment industry at a glance

The global entertainment and media industry generated $3.5 trillion in 2025 and is being reshaped by streaming, advertising, gaming, live experiences and AI-enabled distribution.

$3.5T[50]
Global E&M revenue, 2025
3.4%[50]
Five-year E&M CAGR
$31.7B[20]
Recorded music revenue, 2025
$33.6B[101]
Global box office, 2025
Market size
PwC estimates that global entertainment and media revenue reached $3.5 trillion in 2025, covering advertising, connectivity and consumer spending across 12 segments and 53 territories. Recorded music contributed a separately measured $31.7 billion in 2025, while worldwide theatrical box office reached an estimated $33.55 billion.[50][20][101]
Forecast & CAGR
PwC forecasts global entertainment and media revenue to reach $4.2 trillion by 2030, implying a 3.4% compound annual growth rate over the five-year outlook. US video streaming revenue is forecast to grow from $113.3 billion in 2025 to $157.5 billion in 2030, a 6.8% CAGR.[50]
Market share & regions
North America remains the largest monetized entertainment and media market, while China is identified by PwC as the second-largest market and is forecast to grow at a 6.1% CAGR through 2029. In recorded music, Latin America was the fastest-growing region in 2025, with revenue increasing 17.1%; every region recorded growth.[50][20]
Segmentation
PwC’s outlook divides entertainment and media into 12 segments across 53 territories, including video streaming, traditional TV, cinema, video games, music, books, newspapers, consumer data, internet advertising, out-of-home advertising, business-to-business and connectivity. In recorded music, paid subscription streaming generated 52.4% of global revenue in 2025, with 837 million paid subscription accounts.[50][20]
Pricing
US consumer units spent an average of $3,609 on entertainment in 2024, equal to 4.6% of total annual expenditure, according to the Bureau of Labor Statistics. PwC reports that US video streaming generated $113.3 billion in 2025, reflecting the scale of recurring subscription and advertising-supported pricing models.[96][50]
Trends, drivers & challenges
Growth is being driven by advertising, connectivity, video streaming, gaming, live events and paid music subscriptions; PwC says global E&M revenue rose 5.3% in 2025. Industry challenges include slower growth in mature streaming markets, competition for consumer attention, streaming fraud and the need to develop workable licensing models for generative AI.[50][20]
Consumer behavior & competition
Paid music streaming subscriptions reached 837 million accounts globally in 2025, and subscription streaming revenue grew 8.8%. In the US, PwC identifies ad-supported models, consolidation among rival platforms and premium live-sports monetization as major competitive forces; internet advertising growth slowed from 14.9% in 2024 to 14.0% in 2025.[20][50]
M&A
Paramount completed its acquisition of Warner Bros. Discovery in October 2026, creating a combined global entertainment company with Paramount, Warner Bros., CBS, CNN and major streaming assets. The US Department of Justice had closed its antitrust investigation in June 2026 after concluding that the transaction was not likely to harm competition in streaming, linear television or theatrical film distribution.[22][102]
Regulation
The US Department of Justice reviewed the Paramount–Warner Bros. Discovery transaction across streaming video on demand, linear television and theatrical film distribution, and closed its investigation on June 12, 2026. The decision illustrates the growing regulatory focus on concentration and bargaining power in entertainment distribution.[102]
Latest news
The most consequential recent development is Paramount’s completion of its Warner Bros. Discovery acquisition in October 2026, one of the largest recent media transactions. The combined company is expected to integrate complementary film, television, news and streaming operations while preserving some studio brands as separate businesses.[22][15]

02 Ranking

Top 10 Companies in the Entertainment Industry

The leading companies in the entertainment industry, ranked on market impact, performance, momentum, innovation and brand popularity.

Updated November 11, 2026 · Next review December 11, 2026

Verdict

The Walt Disney Company leads Gitnux's 2026 entertainment ranking with an Overall score of 9.2, with 8% growth in Disney direct-to-consumer revenue in the fourth quarter of fiscal 2025. Sony Group is the highest-ranked recorded music and music services company at 9.1, backed by operating margin of 11.6% and R&D at 6.1% of revenue.

Ranked by Overall score · How we score ↓

Editor's top 3 picks

Where to start, by need.

  1. #1 Overall · Leader in film, TV & Streaming

    The Walt Disney Company

    US

    Ranked #1 · 9.2 · Film, TV & Streaming

    Why we picked it: Its entertainment-and-experiences footprint spans filmed content, streaming, and parks, including 8% DTC revenue growth.

    See in ranking ↓Visit thewaltdisneycompany.com ↗

  2. Leader in music & Media Services

    Sony Group

    JP

    Ranked #2 · 9.1 · Music & Media Services

    Why we picked it: Its Creative Entertainment portfolio spans games, music, and pictures, with 11.6% operating margin and 6.1% R&D.

    See in ranking ↓Visit sony.com ↗

  3. Leader in games & Interactive

    Take-Two Interactive Software

    US

    Ranked #3 · 9.1 · Games & Interactive

    Why we picked it: Its video game publisher role is reflected in 18.1% revenue growth and 16.1% R&D intensity.

    See in ranking ↓Visit take2games.com ↗

Pick 1 is the #1 company overall. Picks 2 and 3 are the highest-ranked companies in the top 5 that add a new segment.

Full ranking

Sort by
Top 10 companies in the entertainment industry, 2026 – Gitnux ranking
#CompanyOverall ↓Company snapshot
1

The Walt Disney Company

Film, TV & Streaming · US

9.2
2

Sony Group

Music & Media Services · JP

9.1
3

Take-Two Interactive Software

Games & Interactive · US

9.1
4

Live Nation Entertainment

Live Experiences · US

9.0
5

NetEase

Games & Interactive · CN

9.0
6

Oriental Land

Theme parks, resorts and branded entertainment · JP

9.0
7

Universal Music Group

Recorded music, music publishing and artist services · NL

8.9
8

Roblox

User-created interactive entertainment platform · US

8.8
9

Six Flags Entertainment

Theme parks, attractions and family entertainment · US

7.7
10

Ubisoft

Video game development and publishing · FR

7.6

How we score

  • Impact (30%): scale and weight in the market (revenue, market share, employees, market position).
  • Performance (20%): recent revenue growth and operating margin; an analyst assessment where a company does not publish them.
  • Momentum (20%): growth trajectory and future potential.
  • Innovation (15%): R&D intensity and how technologically advanced the company is.

Popularity (brand search demand, 15%) counts toward Overall but is not published as a column. Overall leaves out what is not known.

Scale Scores are shown on a 7–10 scale with one decimal; bars start at 7.0.

Cadence Recalculated when new figures are published; next review December 11, 2026.

Independence. Rankings are editorially independent. Scores, ranks, picks and the verdict follow the method above; no company can pay to change them.

Cite this ranking

APA

Lukas Bauer. (2026, February 13). Top 10 companies in the entertainment industry. In Entertainment Industry Statistics. Gitnux. https://gitnux.org/entertainment-industry-statistics/#top-companies

report visual · Projection

Global box office market for all films

Global box office market for all films fell from $40.9B in 2017 to $21.3B in 2021.

$40.9B
Start
-15.05%
CAGR · 4y
$21.3B
Projected
20172021
source-verifiedmotionpictures.org2021

04 Statistics

Technology & Innovation

AI adoption is already moving from pilots to deployment: 55% of respondents were piloting or deploying in 2025. Work can be reshaped at scale, including 30% of repetitive production tasks.

AI in the entertainment industry

  • 32% of work time in motion-picture, video, television-programme production, sound recording and music publishing has higher potential for LLM augmentation.[1]
  • 24% of global revenue for music creators is projected to be lost by 2028 because of generative-AI outputs.[2]
  • 86% of global creators actively use creative generative AI in their workflows, according to a 2025 Adobe survey.[2]
  • 65% of surveyed artists considered AI models a threat to art workers, worldwide.[2]
  • 22% of work time in motion-picture, video, television-programme production, sound recording and music publishing has higher potential for LLM automation.[1]
  • 50% of working hours in media and entertainment can be transformed by large language models, including through automation or augmentation, globally in the cited analysis.[1]

Automation in the entertainment industry

  • 22% of work time in programming and broadcasting activities has higher potential for automation by large language models.[1]
  • 26% of tasks in media and entertainment could be augmented to enhance creativity and strategic decision-making, globally.[1]
  • 28% of work time in creative, arts and entertainment activities has higher potential for augmentation by large language models.[1]
  • 30% of repetitive production tasks, including video editing and content localization, could be automated by AI, according to an expert-group estimate for cultural industries.[2]
  • 24% of tasks in media and entertainment are susceptible to automation, particularly in manual and routine roles, globally.[1]
  • 35% of work time in programming and broadcasting activities has higher potential for augmentation by large language models.[1]

Digital Transformation in the entertainment and gaming sector (sector benchmark)

  • 69% of global media and entertainment respondents described their business-technology relationship as siloed, transactional, or consultative in 2025.[3]
  • 55% of global media and entertainment respondents were at the piloting or deploying stage of AI adoption in 2025.[3]
  • 49% of global media and entertainment organizations reported significant or moderate customer-retention improvement over the previous three years in 2025.[3]
  • 54% of global media and entertainment organizations reported significant or moderate lead-generation improvement over the previous three years in 2025.[3]
  • 28% of global media and entertainment respondents reported a formal AI owner with a title and budget authority in 2025.[3]

Technology Adoption in the entertainment and gaming sector (sector benchmark)

  • 62% of surveyed game-development studios reported using AI in their workflows in 2023.[4]
  • 84% of gaming-company executives surveyed reported that their businesses were more cloud-reliant than ever in 2023.[5]
  • 87% of game developers surveyed across the United States, South Korea, Norway, Finland, and Sweden reported using AI agents in their workflows in 2025.[6]
  • 36% of surveyed game developers reported using AI for dynamic level design, animation and rigging, or dialogue writing in 2025.[7]
  • 90% of media and entertainment companies expected their AI investment to increase during the 24 months following a 2024 survey.[8]

Cloud Computing in the entertainment and gaming sector (sector benchmark)

  • 60% of gaming-industry respondents relied on cloud providers for virtual machines in 2023.[5]
  • 76% of gaming-industry respondents relied on cloud providers for databases in 2023.[5]
  • 78% of gaming-industry respondents relied on cloud providers for storage in 2023.[5]
  • 56% of gaming-industry respondents relied on cloud providers for software-as-a-service in 2023.[5]

Big Data in the entertainment and gaming sector (sector benchmark)

  • 70% of gaming platforms identified stifled innovation as a consequence of lacking timely, complete data in 2024.[9]
  • 74% of gaming platforms identified missed business opportunities as a consequence of lacking timely, complete data in 2024.[9]
  • 60% of media and entertainment organizations were actively investing to a great extent in data synergy, AI, and automation in 2024.[8]
  • 80% of gaming platforms reported losing competitive edge when timely, complete data was unavailable in 2024.[9]

05 Statistics

Data & Analytics

Data governance and real-time access remain friction points. 16% of media and entertainment companies reported trapped data in 2025, and 61% of gaming platforms lacked real-time data access in 2024.

Business intelligence in the entertainment industry

  • 12 trillion minutes of streaming content were viewed in the United States during 2024, according to Nielsen data cited by UCLA.[10]
  • $52 billion was spent on subscription streaming in the United States in 2024.[11]
  • U.S. streaming viewership increased 10% in 2024 compared with 2023.[10]
  • 91.3% of U.S. home-entertainment spending came from subscription streaming in 2024.[11]
  • $57.2 billion was spent on U.S. digital and physical home entertainment in 2024.[11]
  • AVOD and FAST advertising revenue grew more than 44% in the United States during 2024.[11]

Data analytics in the entertainment industry

  • 3.72 trillion events across 14.16 billion users and 2,713 media and entertainment companies were analyzed by Mixpanel for its 2025 report.[12]
  • 73% of Dutch consumers used video-streaming services in 2025.[13]
  • 52% of Dutch consumers used music streaming services in 2025.[13]
  • 21 billion viewing minutes were recorded for Netflix’s Bridgerton in 2024, making it Nielsen’s top streaming original series.[14]
  • 89% of Gen Z respondents in the Netherlands used video streaming in 2025.[13]
  • 19,000 library titles were available on major streaming services, compared with 7,000 originals, in the cited Luminate analysis.[15]

Data Quality in the entertainment and gaming sector (sector benchmark)

  • 51% of media and entertainment business leaders were unsure their companies could generate and deliver relevant insights in 2025.[8]
  • 16% of media and entertainment companies’ data was reported as trapped in 2025.[8]
  • 49% of media and entertainment companies training AI models said they had wasted resources because of bad data in 2025.[8]
  • 32% of gaming executives said making use of the data their companies collect was a significant current challenge, rising to 41% as an expected challenge in three years, according to an EY survey.[16]
  • 34% of media and entertainment organizations identified uniqueness as their leading data-quality issue in Adverity’s 2025 survey of 200 CMOs across the US, UK, Germany, Austria and Switzerland.[17]

Data Governance in the entertainment and gaming sector (sector benchmark)

  • 61% of gaming platforms that tracked data in the prior 12 months had no access to any data in real time in 2024.[18]
  • 87% of media and entertainment respondents said their data governance policies varied across departments in 2025.[8]
  • 90% of media and entertainment respondents said a strong data foundation was the most critical factor for AI deployment in 2025.[8]
  • 80% of gaming platforms said access to real-time market data was very or extremely important for decision-making in 2024.[18]
  • 54% of gaming companies had dedicated analytics teams able to analyze company-wide data in a 2024 survey.[18]
  • 59% of gaming executives ranked gaining visibility into gaming endpoints as their top data priority in the EY survey.[16]

KPIs in the entertainment industry

  • $871 million in incremental revenue was generated by customized digital media and entertainment subscription offerings in 2023.[19]
  • 124% was the increase in digital media and entertainment subscribers from 2020 to 2023.[19]
  • 13.8% of digital media and entertainment subscriptions offered customization options in 2023.[19]
  • 6.9% was the median churn rate for digital media and entertainment subscriptions in 2023.[19]
  • 5.8% was the median acquisition rate for digital media and entertainment subscriptions in 2023.[19]
  • 52.6% was the trial-to-paid conversion rate for digital media and entertainment subscriptions in 2023.[19]

06 Statistics

Strategy & Growth

Format-level growth stays uneven, with streaming and recorded music still expanding in 2025. Global recorded-music revenue grew 6.4% in 2025 while streaming-revenue growth was 7.7%.

Growth in the entertainment industry

  • 6.4% was global recorded-music revenue growth in 2025.[20]
  • 13.7% was global vinyl-revenue growth in 2025.[20]
  • 7.7% was global streaming-revenue growth in 2025.[20]
  • 16% was Netflix revenue growth in 2025.[21]
  • 10.9% was Asian recorded-music revenue growth in 2025.[20]
  • 8.0% was global physical-format revenue growth in 2025.[20]

Differentiation in the entertainment industry

  • 2.06 billion global subscription-stream equivalents were generated by the top-ranked 2025 single, “APT.”[20]
  • 2.00 billion global subscription-stream equivalents were generated by “Golden,” the second-ranked 2025 single.[20]
  • 19 consecutive years of revenue growth were recorded by vinyl through 2025.[20]
  • 1.35 billion global subscription-stream equivalents were generated by “Beautiful Things” in 2025.[20]
  • 1.29 billion global subscription-stream equivalents were generated by “BIRDS OF A FEATHER” in 2025.[20]
  • 1.90 billion global subscription-stream equivalents were generated by “Ordinary,” the third-ranked 2025 single.[20]

Mergers and acquisitions in the entertainment industry

  • $4.5 billion was the stock-and-cash merger consideration for publicly traded Paramount shares in 2024.[22]
  • $1.40 billion was the reported acquisition value of All3Media in 2024.[23]
  • $1.2 billion was the reported value of Sony Music’s 50% acquisition of Michael Jackson’s catalog in 2024.[24]
  • $1.5 billion in primary capital was planned for Paramount’s balance sheet under the 2024 Skydance transaction.[22]
  • $2.4 billion was the cash investment to acquire National Amusements in the 2024 Skydance-Paramount transaction.[22]
  • $488 million was the approximate transaction equity value for the 2025 combination involving WME.[25]

Strategic partnerships in the entertainment industry

  • 8.8% was subscription-streaming revenue growth supported by record-company and platform licensing relationships in 2025.[20]
  • $2.4 billion was the planned Skydance investor-group investment to acquire National Amusements in 2024.[22]
  • 60–90 days or more was the intended theatrical window for Paramount’s most successful releases under the announced plan.[26]
  • 0.3% was growth in performance-rights revenue collected through music-licensing companies in 2025.[20]
  • $1.5 billion was the planned primary capital contribution to Paramount’s balance sheet in the 2024 strategic transaction.[22]
  • 2 companies—Warner Music Group and Bain Capital—provided equal equity commitments for the catalog-investment venture.[27]

07 Statistics

People & Workforce

Technical hiring constraints intersect with remote and hybrid practices. 59% of media-and-entertainment leaders reported difficulty finding employees with the right technical skills in 2025.

Hiring in the entertainment industry

  • 59% of media-and-entertainment leaders said finding employees with the right technical skills was difficult in 2025.[28]
  • 47.9% of Netflix hires were women in 2024.[29]
  • 1,430 episodic television episodes were produced in the United States during the 2023–2024 season, compared with 3,926 in the prior season.[30]
  • 49.7% of Netflix hires were women in 2023.[29]
  • 42% of media-and-entertainment leaders said new employees with the right technical skills were difficult to find in 2024.[28]

Employee retention in the entertainment industry

  • 51.0% of Netflix’s workforce were women in 2024.[29]
  • 48.9% of Netflix employee exits were women in 2024.[29]
  • 48.9% of Netflix employee exits were women in 2024, compared with women representing 51.0% of its workforce.[29]

Remote Work in the entertainment and gaming sector (sector benchmark)

  • Among game workers surveyed internationally in 2023, a majority reported working entirely remotely.[31]
  • Among game workers surveyed internationally in 2023, 16.7% worked on-site full-time.[31]
  • Among game workers surveyed internationally in 2023, 23.6% worked a hybrid schedule.[31]
  • Across U.S. video game companies, remote and fully remote workers accounted for 17% of total industry employment in 2025, representing 14,461 jobs.[32]
  • 59.7% of game workers surveyed globally worked fully remotely in 2023, while 23.6% followed hybrid schedules and 16.7% worked on-site full-time.[31]

Hybrid Work in the entertainment and gaming sector (sector benchmark)

  • Among media and entertainment employers in Cisco’s 2025 global study, 87% said their organizations were still struggling to get the balance right with hybrid working.[33]
  • Across Italian video-game companies surveyed for 2024 industry facts, 42% reported hybrid working as their work modality.[34]
  • Across Italian video-game companies surveyed for 2024 industry facts, 84% said their work modalities would remain unchanged over the following two years.[34]
  • Among Italian video-game companies surveyed for 2024 industry facts, 21% reported on-site working, indicating that hybrid work was twice as common as fully on-site work.[34]
  • 21% of game developers reported a mandatory hybrid return-to-office schedule in 2024, while 5% reported mandatory five-day office work.[35]

Upskilling in the entertainment industry

  • 67% of media-and-entertainment organizations were implementing continuous-learning programs to mitigate skilled-worker shortages in 2025.[28]
  • 28% of people in developing countries held essential digital skills in 2026, according to UNESCO’s cultural-workforce report.[2]
  • 68% of media-and-entertainment organizations were implementing continuous-learning programs to mitigate skilled-worker shortages in 2024.[28]
  • 67% of people in developed countries held essential digital skills in 2026, according to UNESCO’s cultural-workforce report.[2]

Employee Engagement in the entertainment and gaming sector (sector benchmark)

  • Among creative and media employees at organizations with more than 1,000 employees, 64% were engaged in Culture Amp’s July 2026 benchmark.[36]
  • Across media and entertainment organizations in Effectory’s global benchmark, 36.3% of employees were classified as engaged.[37]
  • Among European games-industry employees surveyed in 2025, hybrid workers recorded an eNPS of +4.3, the highest score among remote, hybrid and on-site formats.[38]
  • Among European games-industry employees surveyed in 2025, on-site workers recorded an eNPS of −6.2, the lowest score among the three work formats.[38]
  • Among European games-industry employees surveyed in 2025, remote workers recorded an eNPS of −2.6.[38]

DEI in the entertainment industry

  • 40% of artists surveyed by UNESCO identified inclusion and diversity of cultural expressions in the digital environment as a priority.[2]
  • 43.4% of scripted broadcast-television acting roles were held by people of color in the 2019–2020 U.S. television season.[39]
  • 37% of artists surveyed by UNESCO identified addressing gender gaps in the digital sector as a priority.[2]

08 Statistics

Customer & Sales

Consumer retention depends on price and tier mix. In 2025, 68% of U.S. SVOD subscribers had at least one ad-supported tier, while 61% would cancel after a $5 monthly increase.

Customer experience in the entertainment industry

  • 85% of global streaming consumers reported satisfaction with their experience in 2025.[40]
  • 83% of Chinese streaming consumers were likely to purchase more from their provider in 2025.[40]
  • 75% of global streaming consumers trusted their provider after their experience in 2025.[40]
  • 83% of Australian streaming consumers trusted their provider after their recent experience in 2025.[40]
  • 93% of Brazilian streaming consumers reported satisfaction with their recent experience in 2025.[40]

Customer retention in the entertainment industry

  • 73% of U.S. entertainment subscribers said they were frustrated by continuing price increases in 2025.[13]
  • 68% of U.S. SVOD subscribers had at least one ad-supported tier in 2025, up from 46% in 2024.[13]
  • 49% of U.S. entertainment fans reported sustained engagement with their fandom throughout their lives in 2025.[13]
  • 61% of U.S. streaming consumers said they would cancel their favorite service after a monthly price increase of $5.[13]
  • Around 40% of U.S. streaming subscribers churned in 2025, with churn stable year over year.[13]

Customer acquisition in the entertainment industry

  • 76% of Americans aged 12–74 saw at least one movie in a theater during 2024.[41]
  • 66% of surveyed moviegoers planned to see at least four films in theaters during summer 2025.[42]
  • 81% of surveyed moviegoers wanted more merchandise and ticket bundles in the following year.[42]
  • 86% of loyal moviegoers expressed interest in seeing sporting events in theaters.[42]
  • 69% of Gen Z moviegoers planned to see at least four films in theaters during summer 2025.[42]

Customer loyalty in the entertainment industry

  • 10 movies was the average number seen in 2024 by loyal moviegoers in Fandango’s survey.[42]
  • 59% of Fandango survey respondents were classified as casual moviegoers in 2024.[42]
  • 65% of loyal moviegoers preferred buying tickets online, compared with 49% of casual moviegoers.[42]
  • 96% of surveyed moviegoers purchased concessions during the prior year.[42]
  • 42% of loyal moviegoers pre-ordered concessions during the prior year, compared with 22% of casual moviegoers.[42]

09 Statistics

Marketing & Brand

Creator and social channels remain measurable drivers of discovery. In 2026, 46% of independent artists reported meaningful spikes in streams or followers after social content.

Marketing in the entertainment industry

  • 46% of independent artists said their social content generated a meaningful spike in streams or followers during the previous year.[43]
  • 25% of independent artists said a viral social post was the most important career accelerator in 2026.[43]
  • Three in four independent artists considered social-media success essential to a music career in 2026.[43]
  • 47% of independent artists already used AI in their music-making process in 2026.[43]

Digital marketing in the entertainment industry

  • 75% of independent artists considered social-media success essential to a music career in 2026.[43]
  • 31% of U.S. consumers shared music on social media in Activate’s 2024 consumer technology and media study.[44]
  • 25% of independent artists ranked a viral social post as their most important career accelerator in 2026.[43]
  • 46% of independent artists reported a meaningful spike in streams or followers after posting social content during the previous year.[43]
  • 64% of the U.S. population aged 13 and older both listened to music and used social media according to Meta’s music-impact research.[45]

Branding in the entertainment industry

  • 73% of global streaming consumers were likely to purchase more from their provider after their 2025 experience.[40]
  • 80% of U.S. consumers identified as fans of at least one entertainment category in 2025.[13]
  • 24% of U.S. entertainment fans were willing to interact with virtual AI personalities if they were interesting or informative in 2025.[13]
  • 24% of U.S. entertainment fans wanted the option to co-create content with generative AI in 2025.[13]
  • 16% more daily entertainment time was reported by U.S. fans than non-fans in 2025.[13]

Influencer Marketing in the entertainment and gaming sector (sector benchmark)

  • Across global brands and agencies, 48% report earning at least 3x ROI from creator marketing in 2026, up from 37% the previous year.[46]
  • U.S. creator advertising spend is projected to grow 26% year over year in 2025, nearly four times faster than overall media-industry growth.[47]
  • Among respondents to a global influencer-marketing survey, gaming represented 11.9% of reported campaign-sector activity in 2024, making it the second-largest named vertical.[48]
  • Across U.S. creator-ad buyers, 40% rank overall return on investment as their top KPI for creator campaigns in 2025.[47]
  • Among U.S. creator-ad buyers, 48% consider creators a must-buy media channel, ranking behind only social media and paid search in 2025.[47]

10 Statistics

Operations & Execution

Operational scaling and production quality are measurable. Entertainment replication facilities reported 75% of full capacity, leaving headroom for mastering, packaging and shipping.

Process optimization in the entertainment industry

  • 9.0% growth in operating revenue was recorded by Canada’s film and video distribution industry from 2023 to 2025, reflecting continued adaptation toward digital-first distribution.[49]
  • 51% was the combined 2024 market share of the five largest U.S. film studios, down from more than 60% before the pandemic and indicating a more fragmented production ecosystem.[50]
  • 4.3% was the projected average annual growth rate for the U.S. media and entertainment industry through 2028, creating incentives for scalable operating processes.[51]
  • 93.2% of UK entertainment-industry revenue came from legal digital services in the ERA’s latest yearbook comparison, demonstrating the sector’s shift toward optimized digital delivery.[52]
  • 61% of global entertainment and media consumer revenue came from non-digital formats in 2024, concentrating optimization efforts on integrated physical and digital release models.[50]

Operational efficiency in the entertainment industry

  • 9.0% growth in Canada’s film and video distribution operating revenue brought the industry to $1.9 billion in 2025.[49]
  • 47% growth in Spotify operating income was reported year over year in the fourth quarter of 2025, reaching €701 million.[53]
  • 33.1% was Spotify’s gross margin in the fourth quarter of 2025, compared with 31.6% in the previous quarter.[53]
  • 8% growth in Disney direct-to-consumer revenue was reported in the fourth quarter of fiscal 2025, supported by a larger combined subscription base.[54]
  • 19% growth in Disney Entertainment segment operating income was reported for fiscal 2025, reaching $4.674 billion despite a 3% increase in segment revenue.[55]

Quality management in the entertainment industry

  • 75% of full capacity was reported for entertainment replication facilities, leaving operational headroom for mastering, packaging and shipping quality-controlled products.[56]
  • 93.2% of UK entertainment revenue came from legal services in the ERA’s cited comparison, emphasizing quality-controlled and authorized distribution.[52]
  • 15 times fewer defects and twice the development speed were associated with high-quality production code in a study covering 39 proprietary codebases, including software relevant to interactive entertainment.[57]
  • 2.36× was the U.S. music industry earnings multiplier reported for 2017–2020, indicating the wider economic value supported by music-sector production quality and activity.[58]
  • 34,500 workers were employed by foreign-owned U.S. motion-picture and sound-recording businesses in 2022, a workforce base supporting production-quality systems.[51]

Supply chain in the entertainment industry

  • 93.2% of UK entertainment revenue came from legal digital services in the ERA yearbook comparison, indicating the dominance of digital delivery networks.[52]
  • 75% of full capacity was the operating level reported for entertainment replication facilities handling content mastering, replication, packaging and shipping.[56]
  • 15,000+ titles were cited for the combined Paramount+ and HBO Max catalog in PwC’s 2026 outlook, representing a large-scale content inventory.[50]
  • 290 million Spotify premium subscribers were reported at the end of the fourth quarter of 2025, representing a major global digital-music distribution network.[53]
  • $1.9 billion was Canada’s film and video distribution operating revenue in 2025, covering a supply chain adapting to digital-first releases.[49]

Outsourcing / Offshoring in the entertainment and gaming sector (sector benchmark)

  • 37% of mobile-game studios outsourced publishing during 2023, according to a global industry survey.[59]
  • 28% of mobile-game studios outsourced art during 2023, according to a global industry survey.[59]
  • 40% of mobile-game studios outsourced development tasks during 2023, according to a global industry survey.[59]
  • 30% of mobile-game studios outsourced user acquisition and creative work during 2023, according to a global industry survey.[59]
  • 73% of game-development partnerships began through industry events in the 2026 external-development survey of more than 250 professionals worldwide.[60]

11 Statistics

Finance & Pricing

Subscription economics stay central to reported performance. Spotify’s non-GAAP subscription-service gross margin was 66.8% in 2025, up from 65.9% in 2024.

Pricing strategy in the entertainment industry

  • €4.013 billion was Spotify’s premium revenue in the fourth quarter of 2025, up 8% year over year.[53]
  • 290 million Spotify premium subscribers were reported in the fourth quarter of 2025, alongside premium revenue of €4.013 billion.[53]
  • 5.6 million SiriusXM Pandora self-pay subscribers remained at year-end 2025 after the company introduced price increases on subscription plans.[61]
  • 61% of global entertainment and media consumer revenue came from non-digital formats in 2024, preserving scope for differentiated physical-event and theatrical pricing.[50]
  • 8% was Spotify’s year-over-year premium-revenue growth in the fourth quarter of 2025, reflecting subscription pricing and subscriber-scale effects.[53]

Cost reduction in the entertainment industry

  • 66.8% was the non-GAAP subscription-service gross margin reported for 2025, compared with 65.9% in 2024.[25]
  • 90 basis points was the year-over-year improvement in non-GAAP subscription-service gross margin in the cited 2025 annual report.[25]
  • 31% was SiriusXM’s gross margin in 2025, down from 33% in 2024 as the company managed subscription economics and content costs.[61]
  • $21 million of acquisition-related costs were recorded by S&P Global in 2025, part of the company’s disclosed cost structure during portfolio integration.[62]
  • $5.3 million was Disney Entertainment’s year-over-year improvement in net income from continuing operations in a 2025 subscription-services annual report, reflecting cost and operating leverage.[25]

Profitability in the entertainment industry

  • €701 million was Spotify’s operating income in the fourth quarter of 2025, up 47% year over year.[53]
  • $4.674 billion was Disney Entertainment segment operating income in fiscal 2025, up 19% from fiscal 2024.[55]
  • 15.5% was Spotify’s operating margin in the fourth quarter of 2025.[53]
  • 11.0% was the approximate fiscal-2025 operating margin for Disney Entertainment, calculated from $4.674 billion of operating income and $42.466 billion of revenue.[55]
  • 33.1% was Spotify’s gross margin in the fourth quarter of 2025.[53]

Financial planning in the entertainment industry

  • $35.2 billion of foreign direct investment went into the U.S. motion-picture and sound-recording industry in 2023.[51]
  • $17.551 billion was Disney’s total segment operating income in fiscal 2025, up 12% from fiscal 2024.[55]
  • $8.9 billion of foreign direct investment went into U.S. radio and cable broadcasting in 2023.[51]
  • $94.425 billion was Disney’s total revenue in fiscal 2025, the base for corporate financial planning across entertainment, sports and experiences.[55]
  • $3.5 trillion was PwC’s forecast for global entertainment and media revenue in 2029, providing a long-range planning horizon for the sector.[50]

12 Statistics

Product & Service

Churn and catalog depth show up in customer behavior metrics. In the US, 14% of paid video-streaming subscriptions churned quarterly from Q2 2024 through Q2 2025.

Product development in the entertainment industry

  • 27% of the top 100 streaming films released in 2024 were comedies in the United States.[10]
  • 4% of the top 100 streaming films released in 2024 were biographical films in the United States.[10]
  • 8% of the top 100 streaming films released in 2024 were horror films in the United States.[10]
  • 3.72 trillion product-usage events were analyzed across 14.16 billion users from 2,713 media and entertainment companies for a 2025 product-analytics report.[12]
  • 17% of the top 100 streaming films released in 2024 were action films in the United States.[10]

Product lifecycle in the entertainment industry

  • 14% of U.S. paid video-streaming subscriptions churned quarterly from Q2 2024 through Q2 2025.[63]
  • 29% of Apple TV subscriptions in the United States were boomerang subscriptions in Q2 2025.[63]
  • 11% of U.S. boomerangers had paid for a television or film stream or download during the previous three months.[63]
  • 20% of all U.S. paid video-streaming subscriptions were boomerang subscriptions in Q2 2025, meaning customers had canceled and returned within 12 months.[63]
  • 20% of boomeranged HBO Max users initially canceled because of insufficient new television content in the United States.[63]

After-sales in the entertainment industry

  • 27% of Dutch consumers who canceled a video subscription cited price as the reason.[13]
  • 17% of entertainment-sector customer-service issues were handled manually in 2023–2024.[64]
  • 65% of entertainment-sector customer-service issues were fully resolved by bots in 2023–2024.[64]
  • 49% of respondents who canceled a subscription in the Netherlands said it was too expensive or that they were spending too much on subscriptions.[13]
  • Subscription-cancellation inquiries represented 18.5% of entertainment-sector support issues in 2023–2024.[64]

Value proposition in the entertainment industry

  • Fans spent 27% more per month on streaming subscriptions than non-fans in the United States in 2026.[13]
  • 80% of U.S. consumers identified as fans of at least one entertainment category in 2026.[13]
  • Fans reported spending $71 per month on streaming subscriptions in the United States in 2026.[13]
  • 68% of U.S. SVOD subscribers had at least one ad-supported tier in 2026.[13]
  • 55% of U.S. fans said fandom led them to engage across multiple entertainment platforms in 2026.[13]

13 Statistics

Sustainability & Ethics

Footprint variance is large across production types. The average carbon footprint was 105.4 metric tons per episode for a one-hour scripted drama production in 2020–2022.

Sustainability in the entertainment industry

  • 80,000 live-music events were included in the first comprehensive annual emissions calculation for live music in the United States and United Kingdom.[65]
  • 8% of reported emissions from eight Irish television-drama productions came from energy used on location during productions filmed between August 2021 and April 2024.[66]
  • 105.4 metric tons was the average carbon footprint per episode of a one-hour scripted drama production during 2020–2022 in the United States and Canada.[67]
  • 251–374 tonnes of CO2e was the full life-cycle footprint of three Dutch nonfiction television series, equal to 1.6–7.8 tonnes per 30 minutes broadcast.[68]
  • 2,996 metric tons was the average carbon footprint of a tentpole film or television production during 2020–2022 in the United States and Canada.[67]

ESG in the entertainment industry

  • 32 out of 100 was the entertainment and media industry’s average environmental-accountability and tracking score in the 2022 Future-Ready Business Benchmark.[69]
  • 38 out of 100 was the entertainment and media industry’s average ethics-and-governance accountability and tracking score in the 2022 Future-Ready Business Benchmark.[69]
  • 47 out of 100 was the entertainment and media industry’s average environmental-commitment score in the 2022 Future-Ready Business Benchmark.[69]
  • 71.8 out of 100 was the entertainment and media industry’s score for the importance of social responsibility in the 2022 Future-Ready Business Benchmark.[69]
  • 30 out of 100 was the entertainment and media industry’s average ethics-and-governance commitment score in the 2022 Future-Ready Business Benchmark.[69]

Ethics in the entertainment industry

  • 21% of companies mentioned responsible use of artificial intelligence in their 2024 sustainability reports, based on an analysis of 250 S&P 500 reports.[70]
  • 85.82% of surveyed employees reported awareness of whistleblowing, complaint channels and investigation procedures in 2024.[71]
  • 62 was the average number of appearances of the acronym ESG within each 2024 sustainability report analyzed from 250 S&P 500 companies.[70]
  • 86.16% of surveyed employees reported awareness of an ethical culture in 2024.[71]
  • 89.08% of surveyed employees reported compliance with business ethics in a 2024 governance-awareness survey covering a rice, logistics and services business.[71]

CSR in the entertainment industry

  • 31% of Pinterest’s engineering workforce were women in 2023.[72]
  • 46% of Pinterest’s leadership workforce were women in 2023.[72]
  • 50% of Netflix’s United States workforce identified as belonging to historically excluded ethnic or racial groups in the company’s 2022 ESG reporting.[73]
  • 52% of Pinterest’s global workforce were women in 2023.[72]
  • 51.7% of Netflix’s global workforce were women in 2021, while women held 51.1% of director-and-above roles.[73]

Circular economy in the entertainment industry

  • 193,000 disposable plastic water bottles were avoided during production of The Amazing Spider-Man 2 through reusable alternatives.[39]
  • 2,000 suppliers beyond Tier 1 were included in Disney’s International Labor Standards program facility count in fiscal 2024.[55]
  • 25 tonnes of waste were generated by dismantling installations across the analyzed cultural events in the 2021–2022 environmental sustainability report.[74]
  • 52% of waste from The Amazing Spider-Man 2 was diverted from landfill through reuse and recycling practices.[39]

Carbon footprint in the entertainment industry

  • 34–65% of film and television production emissions came from fuel consumption during the 2020–2022 benchmark period.[67]
  • 1.6–7.8 tonnes of CO2e per 30 minutes broadcast was the life-cycle footprint range for three Dutch nonfiction television series.[68]
  • 62% of live-music emissions in the United States came from fan travel across the event types analyzed in 2025.[65]
  • 42.4 metric tons of emissions per shooting day was the average footprint of a tentpole film or television production during 2020–2022.[67]
  • 18.8% of combined reported production emissions came from on-location energy for seven Irish feature films filmed between 2021 and 2024.[66]

15 Statistics

Globalization & Expansion

Recorded-music growth differs materially by region. Latin America had 17.1% recorded-music revenue growth in 2025, the fastest among global regions.

Globalization in the entertainment industry

  • 17.1% was recorded-music revenue growth in Latin America in 2025, the fastest growth among global regions.[20]
  • 15.2% was recorded-music revenue growth in the Middle East and North Africa in 2025.[20]
  • 21.3% of global recorded-music revenues came from the European Union in 2025, totaling €6.0 billion.[20]
  • 837 million people used paid music-streaming subscription accounts globally at the end of 2025.[20]
  • 72.4 million international subscribers were reported by Warner Bros. Discovery for 2025.[89]

Cultural adaptation in the entertainment industry

  • 17% was India’s largest single-language share of film production in the UNESCO feature-film diversity analysis.[90]
  • 97.5% of Middle East and North Africa recorded-music revenues came from streaming in 2025.[20]
  • 45.1% of global physical recorded-music revenues came from Asia in 2025.[20]
  • 54% was paid-music-streaming subscriber penetration in the United States in 2025.[20]
  • 47% was paid-music-streaming subscriber penetration in the United Kingdom in 2025.[20]

Supplier management in the entertainment industry

  • $22 billion was the value of global streaming revenues for recorded music in 2025.[20]
  • 641 million dollars was global synchronization revenue from music used in film, television, games and advertising in 2025.[20]
  • 8.8% was growth in global subscription-streaming revenue in 2025.[20]
  • 2.9 billion dollars was global performance-rights revenue collected from recorded-music use in 2025.[20]
  • 52.4% of global recorded-music revenues came from subscription streaming in 2025.[20]

Stakeholder management in the entertainment industry

  • 325 million paid memberships were surpassed by Netflix in 2025.[91]
  • 38% of Netflix shares outstanding were represented in meetings involving company directors in 2025.[91]
  • 25 Netflix stockholders representing approximately 55% of shares outstanding were invited to engage with the company in 2025.[91]
  • 22 Netflix stockholders collectively representing approximately 45% of shares outstanding engaged with the company in 2025.[91]
  • 96 billion hours were watched on Netflix in the second half of 2025.[29]

Distribution channels in the entertainment industry

  • 13% was Warner Bros. Discovery’s year-on-year subscriber growth associated with distribution revenue in 2025.[89]
  • 752 million paid music-streaming subscription accounts existed globally at the end of 2024.[20]
  • 17.7% of global recorded-music revenue came from ad-supported streaming in 2024.[20]
  • 2.2% of global recorded-music revenue came from synchronization in 2024.[20]
  • 52.2% of global recorded-music revenue came from subscription streaming in 2024.[20]

16 Statistics

Regional markets

Regional industry scale is measurable in employment and production counts. Greater Los Angeles recorded 23,480 permitted shoot days during 2024, down 5.6% from 2023.

The entertainment industry in Nigeria

  • 2,500 films were produced annually by Nollywood, making Nigeria the world’s second-largest film industry by output.[51]
  • 56% of Nigerian cinema box-office revenue came from local films in the first half of 2024.[51]
  • $122.1 million was the projected value of Nigeria’s digital music market in 2024.[51]
  • $400 million-plus was generated by Nigeria’s music industry in 2024, while Afrobeats exceeded 2.2 billion Spotify streams.[92]
  • ₦1.97 trillion was contributed to Nigeria’s GDP by media, entertainment and music in 2023, up 27.5% over three years.[51]

The entertainment industry in Saudi Arabia

  • 8,700-plus entertainment events and shows were conducted in Saudi Arabia from 2019 through the first quarter of 2023.[93]
  • 35,300 people were employed in Saudi Arabia’s private culture and entertainment sector in 2023.[93]
  • SAR4.4 billion is the forecast Saudi entertainment and amusement market size for 2030.[93]
  • 120 million-plus visitors attended Saudi entertainment events and shows in 2023.[93]
  • 450,000 entertainment-sector jobs are forecast for Saudi Arabia by 2030.[93]

The entertainment industry in Los Angeles

  • 15,000 businesses were directly employed by the Los Angeles County entertainment industry per year.[94]
  • 325,000-plus workers were directly or indirectly employed by Los Angeles County’s entertainment industry per year.[94]
  • $117.2 billion was the entertainment industry’s economic impact in Los Angeles County, including $38.5 billion in labor income.[94]
  • 23,480 permitted shoot days were recorded in Greater Los Angeles during 2024, down 5.6% from 2023.[95]
  • 201,640 arts, design, entertainment, sports and media jobs were recorded in the Los Angeles metropolitan area in May 2023.[96]

The entertainment industry in Japan

  • 144.441 million cinema admissions were recorded in Japan in 2024.[97]
  • 1,190 films were released in Japan in 2024, including 685 Japanese films and 505 foreign films.[97]
  • ¥1.72 trillion was Japan’s music-related market size in 2024, including recorded music, streaming, karaoke and concerts.[98]
  • ¥612.1 billion was Japan’s live entertainment market size in 2024.[98]
  • ¥206.983 billion was Japan’s total cinema box-office gross in 2024.[97]

The entertainment industry in New York

  • $2.8 billion was the economic impact of New York City’s music-recording industry in 2024.[99]
  • 8,000 people were employed in New York City’s digital games industry in 2024.[99]
  • 72,800 people were employed in New York City’s film and television industry in 2024.[99]
  • $1.911 billion was Broadway’s gross revenue during the 2025–26 season in New York City.[100]
  • $68.9 billion was the economic impact of New York City’s film and television industry in 2024.[99]

Key questions about the Entertainment Industry

What is the current size of the global entertainment and media market, and how big is it expected to get?
Global entertainment and media revenue was $3.5T in 2025. PwC forecasts it to reach $4.2T by 2030, with a 3.4% compound annual growth rate over the five-year outlook.
How is market growth changing across formats like streaming and recorded music?
PwC identifies global E&M growth moderating, while paid subscriptions and advertising-supported viewing expand. Global streaming-revenue growth was 7.7% in 2025, and global recorded-music revenue growth was 6.4% in 2025.
Which companies lead the entertainment industry?
The Walt Disney Company leads Gitnux's 2026 entertainment ranking with an Overall score of 9.2, with 8% growth in Disney direct-to-consumer revenue in the fourth quarter of fiscal 2025. Sony Group is the highest-ranked recorded music and music services company at 9.1, backed by operating margin of 11.6% and R&D at 6.1% of revenue.
What technology shifts are most visible in media and entertainment operations?
Large language models can transform work: 50% of working hours in media and entertainment can be transformed, including through automation or augmentation. In 2025, 55% of respondents were at the piloting or deploying stage of AI adoption.
How is the industry structured across segments and territories?
PwC divides entertainment and media into 12 segments across 53 territories. Those segments include video streaming, traditional TV, cinema, video games, music, and internet advertising.
How do regulators and major deals affect the market structure?
In October 2026, Paramount completed its acquisition of Warner Bros. Discovery. The US Department of Justice closed its antitrust investigation on June 12, 2026 after concluding it was not likely to harm competition in streaming, linear television, or theatrical film distribution.
Reference

Cite This Report

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APA
Lukas Bauer. (2026, February 13). Entertainment Industry Statistics. Gitnux. https://gitnux.org/entertainment-industry-statistics
MLA
Lukas Bauer. "Entertainment Industry Statistics." Gitnux, 13 Feb 2026, https://gitnux.org/entertainment-industry-statistics.
Chicago
Lukas Bauer. 2026. "Entertainment Industry Statistics." Gitnux. https://gitnux.org/entertainment-industry-statistics.

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