The realm of digital media is poised to generate significant discussion throughout the current year.

Our previous assessment of venture capitalist perspectives on media investments centered on the anticipated effects of the pandemic on the industry and the potential for emerging businesses.

While the pandemic remains ongoing, when queried about the most prominent narratives for 2021, venture capitalists highlighted a diverse range of subjects, including innovative distribution strategies, novel forms of user engagement, updated resources for content creators, the resurgence of advertising-supported models, and the function of media within a democratic framework.

Alex Gurevich of Javelin articulated, “We are progressing towards a content landscape where consumer selection capabilities reach unprecedented levels – determining both the superior content to experience and financially support, and the preferred method of access.” He continued, “The ultimate decision rests with the consumer, not with established media organizations or content delivery businesses.”

For this updated survey, we gathered insights from ten venture capitalists – nine actively investing in media startups, and an additional one who frequently reviews media proposals and willingly shared her observations. We sought their opinions on the probability of further industry mergers, the potential for more digital media firms to utilize special purpose acquisition companies (SPACs), and, naturally, their investment criteria.

The following individuals contributed to our survey:

• Daniel Gulati, founding partner, Forecast Fund
• Alex Gurevich, managing director, Javelin Venture Partners
• Matthew Hartman, partner, Betaworks Ventures
• Jerry Lu, senior associate, Maveron
• Jana Messerschmidt, partner, Lightspeed Venture Partners
• Michael Palank, general partner, MaC Venture Capital (supplemented by additional insights from MaC’s Marlon Nichols)
• Pär-Jörgen Pärson, general partner, Northzone
• M.G. Siegler, general partner, GV
• Laurel Touby, managing director, Supernode Ventures
• Hans Tung, managing partner, GGV Capital

Their complete responses can be found below.

What do you think will be the biggest trend or story in digital media in 2021?

Daniel Gulati: A central question will be clarifying the role of media in a democratic society. Discussions will focus on the accountability of companies as their pursuit of growth contributes to the spread of misinformation. Determining who decides when a platform’s policies conflict with constitutional rights, and the consequences of those decisions, will also be critical. Furthermore, the extent to which governments should support local media organizations competing with global entities in a changing digital environment will be a key topic.

These are significant challenges that will be prominent throughout the year.

Alex Gurevich: The ongoing evolution of how content is distributed will continue to be a major force. This includes the shift away from traditional cable packages toward numerous subscription video on demand (SVOD) services, and changes in content release strategies, such as prioritizing on-demand home viewing over theatrical releases. Consumers are gaining unprecedented control over their viewing choices – deciding what premium content to consume, and how to access it. Ultimately, the consumer will be the deciding factor, rather than established media and distribution companies, a trend significantly accelerated by the pandemic.

Matthew Hartman: The removal of a sitting president’s account, along with associated accounts, from Twitter and Facebook has fundamentally altered the media landscape. This event will likely expedite government action, including potential revisions to Section 230. The effects will be widespread, impacting news distribution on social media, the growth opportunities for startups leveraging larger platforms, acquisition possibilities for smaller talent-focused companies, and the existing fragmentation of the media ecosystem.

Additionally, the increasing prominence of synthetic media is noteworthy. We first identified this trend at Betaworks in 2018, and its scale and scope will continue to expand in 2021. This includes advancements in deepfake detection, led by companies like Sensity.AI, but also a fundamental reshaping of media creation processes, impacting the costs associated with animation, writing, editing, and computer-generated imagery.

Furthermore, game streaming will maintain its growth trajectory, attracting audiences that are surpassing those of traditional television. The large viewership for events like Alexandria Ocasio-Cortez’s Among Us stream on Twitch (reaching 435,000 concurrent viewers) and David Martinez’s Fortnite skin unveiling (2.4 million concurrent viewers) demonstrate the power of streamers to both launch and revitalize games, particularly those suited for collaborative play like Among Us and Rust.

Jerry Lu: We will see the rise of interactive media platforms extending beyond the realm of gaming.

Driven by social isolation during COVID-19, people are seeking greater interaction, leading to increased engagement on platforms like Twitch and Zoom that facilitate interactive communication. Traditional media platforms historically employed a top-down broadcast model, delivering content they believed consumers would enjoy. However, over the past five years, there has been a growing shift toward the “long tail,” where content originates directly from consumers.

Gaming and esports have been at the forefront of this transition from passive viewing to interactive entertainment. In 2021, we anticipate platforms will increasingly embrace interactivity as a means of audience participation, blurring the lines between viewers and active participants. This form of interactive content consumption holds promise for sectors like education, childcare, and commerce.

Jana Messerschmidt: We will observe a growing number of products empowering content creators to establish businesses independent of traditional media companies. These creators will capitalize on their existing brand recognition, audience, and social media engagement to become entrepreneurs, diversifying their revenue streams.

A wealth of new tools are becoming available for creators, including platforms for writers (Substack, Medium), personalized video shoutouts (Cameo*, PearPop), new audio platforms (LockerRoom*, Clubhouse), and all-in-one tools offering merchandise, subscriptions, and tipping options (FourthWall* ). This is a pivotal moment for creators to be directly rewarded by their fans for their work.

Historically, major social platforms (Facebook, Instagram, Snap*, Twitter, TikTok) have struggled to provide creators with effective monetization pathways, prioritizing advertising revenue and the needs of advertisers.

• denotes Lightspeed portfolio company

Michael Palank: Following a year in which most major media companies announced or expanded their direct-to-consumer video, audio, and gaming offerings in 2020, 2021 will be the year of optimization, differentiation, or failure for those initiatives. The demand for original content will persist, but the types of content will continue to diversify in terms of both storytelling, intellectual property, and format. It’s conceivable that a major company like Apple, Amazon, or Disney will acquire Clubhouse in 2021.

As the boundaries between video games and filmed entertainment become increasingly blurred, we can expect new companies to emerge to capitalize on this trend. These platforms will also need to improve content discovery and personalization to stand out.

We anticipate that all major media companies, from Disney to Apple to Amazon to Microsoft, will actively seek innovative ways to distinguish themselves in 2021.

Marlon Nichols: The continued proliferation of streaming platforms launched by content creators and owners (such as Disney+, HBO Max) will likely lead to downward adjustments in subscription pricing across the board, and a renewed consideration of advertising as a revenue source. However, consumers are unlikely to accept advertisements on paid platforms, so I believe we’ll see a rise in contextually relevant product placement as the preferred form of brand and content collaboration. My investment in Ryff at MaC was based on this belief.

Pär-Jörgen Pärson: Governmental and legislative bodies will exert significant influence on social media platforms. We can expect increased scrutiny of antitrust practices, and social networks will be compelled to operate more like traditional media organizations – assuming responsibility for the content on their platforms, not only through user agreements but also from an editorial perspective. This could lead to a greater number of editors-in-chief within the industry, as editorial oversight becomes increasingly important in a polarized world. This shift has the potential to dramatically reshape the social media landscape, with uncertain long-term commercial implications.

M.G. Siegler: While perhaps unexciting, a return to advertising-based models is a distinct possibility. This is driven by two factors: First, the anticipated resurgence of traditional advertising spend as the pandemic subsides, particularly from sectors like travel. Second, the cyclical nature of advertising and subscription models – after a period of prioritizing paid subscriptions, a shift back toward advertising may be underway.

Both models will likely continue to coexist, but we may be reaching a point of over-reliance on paid subscriptions, potentially paving the way for a renaissance in advertising, provided that the user experience is improved to avoid a negative reaction.

Laurel Touby: The most significant trend in digital media will be the emergence of companies that don’t explicitly identify as media companies, but that nonetheless leverage the business models of traditional media. This includes companies monetizing their communities by providing sponsors and advertisers access to their audiences, or technology startups selling products and upselling customers with access to premium content.

Hans Tung: Contextual social networks, particularly video and livestreaming platforms like TikTok, Instagram, and Snap, will continue to foster creativity and engagement. Clubhouse is currently attracting attention as audio captures the interest of a new generation, creating opportunities for established audio platforms like YY or Ximalaya. These platforms represent an evolution of Snap or Twitter, where influencers build new followings.

However, we are also witnessing the emergence of contextual social networks focused on addressing real-world problems. Companies are combining the best aspects of audio and video to experiment with new applications like Headspace and Calm, tackling issues such as anxiety. While these networks may not scale as rapidly or generate as much media coverage as Clubhouse, they are designed to connect people and facilitate problem-solving. Professional networks like Valence or Chief are also utilizing these platforms to address issues for specific demographics.

Digital media with differentiated experiences: Peloton, while not traditionally considered a digital media company, excels at delivering a high-value experience through high-quality content that extends beyond fitness and even the need for hardware. More categories will adopt a “Netflix-like” model, where content is paramount and delivered via smartphones.

This experience is further enhanced by social features like leaderboards and access to top instructors, expanding the reach of the content. Coupled with financing options like Affirm, this creates a powerful growth cycle. This pattern will likely emerge in other sectors.

Consumerization of enterprise communication: Communication is another facet of media, and we are seeing its evolution within the enterprise space. Slack and Zoom have led the way, and now companies like Yak and various conference apps are increasing usage frequency between companies, companies and their customers, and within organizations themselves.

How much time are you currently dedicating to evaluating media startups?

Daniel Gulati: The sheer variety of innovation is truly stimulating. Rapid advancements in live video and audio, the ongoing expansion of OTT services, novel tools empowering creative expression, and the integration of commerce are just a few examples. Considering the evolving nature of consumer attention, I am consistently assessing startups striving to shape the future across all these domains.

Alex Gurevich: A significant amount. My work with MasterClass, HitRecord, and Mythical Games exposes me to a wealth of groundbreaking new approaches to media and content creation across diverse sectors. I am currently focusing most of my attention on online education, gaming, and businesses that have successfully harnessed the strength of supportive online communities to develop innovative digital media experiences.

Matthew Hartman: Our focus is on the future of communication, which, within the technology landscape, is intrinsically linked to media, though not necessarily in the conventional sense. We are exploring three key areas, all stemming from the need to “Fix The Internet” and address its shortcomings of the past decade. These include reimagining social media business models to eliminate incentives for misinformation and inflammatory content, and rethinking data privacy and granting users greater control over their personal data – developments potentially driven by regulation or the increasing frequency of data breaches.

Jerry Lu: Historically, there has been a reluctance within the venture capital community to invest in media companies, largely due to the association with content creation reliant on advertising revenue.

However, this perception has shifted as new technologies have unlocked fresh opportunities and patterns in media creation, consumption, and revenue generation. Consequently, we are witnessing the emergence of a new generation of creators, many of whom are establishing themselves as individual media brands. Furthermore, with the democratization of media, content is diversifying in form and being monetized through innovative business models and distributed across various platforms.

I am more enthusiastic than ever about the next wave of media companies, and I anticipate that every company will incorporate a media/content element, either as a lead generation tool or a communication channel.

Jana Messerschmidt: Media consumption continues its upward trend across all demographics, and consumers are demonstrating a willingness to pay for content in both established and emerging ways, including direct payments to creators.

I devote approximately one-third to half of my time to evaluating these companies, which often possess the potential to become exceptional businesses that consistently capture consumer attention.

Mike Palank: At MaC, we are constantly seeking out the next significant media enterprise. As a firm, our emphasis is less on content-focused businesses and more on novel platforms for content distribution and engagement, technologies that facilitate new content creation methods, or companies that are applying existing technologies in innovative ways within the media sector.

Pär-Jörgen Pärson: Frankly, my optimism has waned recently as I’ve anticipated the decentralization of media, a development that has yet to fully materialize. Perhaps 2021 will be the year entrepreneurs capitalize on the blockchain opportunity to build decentralized experiences.

We are actively searching for ways to disrupt the established media landscape in this regard. As evidenced by recent criticism surrounding WhatsApp, privacy is paramount, and advertising-driven models are becoming unsustainable. We require new platforms, potentially several, and while blockchain technology still holds considerable promise, we haven’t yet seen anything truly compelling.

M.G. Siegler: I’m not dedicating a large amount of time to what one might consider “traditional” media, but there do appear to be some interesting underlying technology ventures gaining traction. Furthermore, specific niches continue to attract attention in response to current events, such as politics last year – and likely something else in 2021.

Laurel Touby: We do not invest in media startups. However, given my experience in the media industry, we encounter a number of these companies. I observe many smaller entities attempting to survive by cultivating an appealing audience that advertisers will target. I also see platforms aimed at the shrinking pool of “traditional media” companies, assuming they have the financial resources to invest in such tools/services. This is a flawed assumption, as they are currently engaged in a fierce battle with larger “nonmedia” platforms like Google and Facebook.

Hans Tung: Over the past 12 months, I allocated roughly 20% of my time to assessing digital media startups. Currently, I am more interested in startups developing contextual social networks that address real-world issues such as depression or anxiety, as well as those that are enabling remote work.

What Qualities Define Your Next Investment?

Daniel Gulati: Within the media landscape, prioritizing originality is paramount. Previously, simply aggregating an audience, even with easily replaceable content, could be successful. However, that approach is no longer viable. I’ve invested in Shine, a self-care application that originated from the founders’ desire to represent their own experiences, which were absent in mainstream wellness offerings. This distinctiveness allowed them to establish a strong presence early on. Investors should seek out ventures led by founders possessing a unique perspective or background.

Furthermore, the caliber of revenue generation is crucial in the media sector—it’s essential to determine if a revenue stream will provide lasting value. My investment in The Athletic exemplifies this, as they developed a more effective system for serving sports enthusiasts and monetizing that service. Media entrepreneurs should present a well-defined business strategy.

Alex Gurevich: I focus on identifying founders who can skillfully integrate exceptional product and technological innovation with compelling content and storytelling. The convergence of these disciplines has the potential to create truly remarkable user experiences. While much of the current disruption in the industry centers around distribution methods, I believe the content creation process itself will undergo significant changes and become more accessible in the future.

Individuals interested in creativity and content creation will increasingly have access to the necessary skills through educational platforms (such as MasterClass and Udemy), opportunities to collaborate with others in the creative process (like HitRecord), and sophisticated software tools (including Unreal Engine and Unity) for producing high-quality content. This content will then be distributed and curated through various on-demand services and even integrated into gaming environments for immersive experiences.

Matthew Hartman: I am interested in businesses and products that empower users with control over their voice, independent of reach amplified by algorithms, and provide content and media creators with direct monetization opportunities, bypassing algorithm-driven targeted advertising. Prioritizing user data control through advanced privacy technologies is also key. This direction aligns with Steve Jobs’ vision of technology as a “Bicycle For The Mind.”

Jerry Lu: I’m looking at companies focused on content curation. The sheer volume of available content is unprecedented, yet it’s increasingly difficult to find what truly matters. The challenge of separating valuable information from noise and making informed decisions has become more pronounced—the opportunity cost of wasted time is higher than ever. Companies that can effectively balance curation with scalability, offering fresh and engaging content while maintaining a sense of intimacy and familiarity for consumers, are particularly promising.

Jana Messerschmidt: I seek out companies with the potential to become ingrained in popular culture. A key question I ask is, “Could this company become a verb (like “I TikTok,” “I Uber”)? Achieving verb status typically indicates a daily or weekly habit and demonstrates strong consumer recognition.

Becoming a verb often signifies simplifying a previously complex process for the consumer. Before Uber, arranging personal transportation required significant effort and lacked a corresponding verb. Uber streamlined the process, becoming the verb synonymous with it.

TikTok provides another excellent illustration of simplifying content creation. TikTok excels at providing a single media element (a dance, a song, a question) and enabling users to add their own unique interpretations. I refer to this as “WitHub”—a GitHub-like platform for creativity.

Mike Palank: At MaC, we prioritize companies that bridge gaps rather than widen them. This is particularly evident in the burgeoning creator or passion economy. Similar to how YouTube fostered a new generation of creators a decade ago, companies like Substack, OnlyFans, Kapwing, Zebra IQ, Manticore Games, and others are empowering diverse creative talent to build sustainable careers. We are seeking ventures that will continue to democratize opportunities for artists to earn a living.

M.G. Siegler: In the media sector, as in all industries, we are evaluating the landscape and anticipating how the world will evolve as the pandemic subsides, identifying which startups will be positioned to capitalize on the resulting changes.

Laurel Touby: We are not currently investing in media. Our focus lies in SaaS/enterprise software across various sectors, fintech, e-commerce platforms, and logistics solutions.

Hans Tung: The rise of remote work is a significant trend, and we are dedicating considerable attention to it. Distributing tech talent more broadly benefits society and democratizes access to the startup ecosystem, allowing individuals to work from anywhere. This also fosters healthier local economies by encouraging the emergence of innovation hubs in diverse locations around the world.

Do you anticipate further digital media consolidation this year? If so, how will this affect new companies entering the market?

Daniel Gulati: We can examine this from three different perspectives. First, major media organizations will likely continue acquiring smaller companies that have established audiences and recognizable brands, but lack the potential for independent, substantial growth. Given the current investment climate, I expect firms like Group Nine or Bustle to pursue this strategy, offering an exit opportunity for newer or smaller businesses. Second, many are looking to integrate a commerce component with their existing audience base, as demonstrated by FuboTV’s move into sports betting. Third, companies are considering bundling strategies, whether through organic growth or acquisitions, to expand into new markets and leverage past achievements.

Alex Gurevich: I don’t expect significant consolidation among the largest media companies in the coming year. Instead, we’re seeing these major players launch their own video-on-demand platforms, inspired by the success of services like Netflix and Disney+. Some, such as Disney, are still integrating previous large acquisitions, like Fox, while others, like Apple, are just beginning to explore this space. However, a competitive bidding process for content and unique experiences is underway among these large companies, and I believe this will lead to consolidation among newer companies possessing distinctive offerings, helping the larger players compete for consumer spending and viewing time.

Matthew Hartman: Yes, but the type of media is key. I view media as communication that evolves alongside changing technologies. The internet became social, leading to the rise of social media. This then shifted to mobile, and in the last five years, we’ve seen mobile diversify into new formats like audio – exemplified by Anchor and Gimlet in podcasting – and integration within text messaging, such as Giphy. Each of these transitions creates opportunities for consolidation. This will largely be because, initially, the strongest products attract the most users (like Serial or Tumblogs), but over time, creating quality products becomes standard, and user acquisition relies more on paid advertising. At that point, distribution becomes the primary source of value.

Hans Tung: Consolidation will definitely occur. Companies such as Bustle are developing various vertical and niche content offerings and presenting them on broader, technology-focused platforms, often with innovative approaches. Similarly, companies like Reddit are acquiring startups like Dubsmash to diversify their platform’s capabilities. The increasing prevalence of remote work will also be a contributing factor. Consolidation is a natural part of the evolving media landscape, and that’s perfectly acceptable. It’s not necessarily negative, as it will also foster new methods of creation, connection, and engagement.

Considering the diverse range of modern media – from brief videos to podcasts and APIs like Giphy – what overarching factor will fuel consolidation throughout 2021?

Jerry Lu: As major media organizations strive for increased content and broader reach, I foresee continued consolidation within the digital media landscape, alongside the emergence of new businesses focused on specialized areas. The expansion of global consumer markets has redefined what constitutes a niche, as even highly focused consumer groups present substantial opportunities. While today’s niches may serve smaller audiences, these communities demonstrate heightened passion, loyalty, and engagement, making them effectively monetizable through a variety of products and services.

This is a key reason why I hold The Chernin Group in high regard: their talent for identifying these underserved audiences, as demonstrated by their recent investments in companies like Surfline and Hodinkee, which cater to the surfing and watch enthusiast communities, respectively. As these next-generation media companies leverage these close audience relationships, what was once considered niche will evolve into a significant revenue stream.

Mike Palank: I completely agree. Currently, nearly all activity in media centers around achieving scale. The companies that reach significant size are the ones that endure. Traditional media has been working to catch up with technology leaders for some time, and this trend is expected to persist. We are witnessing intense competition in the audio sector, and anticipate this will continue into 2021. While substantial consolidation within the major film and television studios is becoming less likely, I, like many others, predict that MGM will be acquired by a larger studio this year. I also foresee consolidation within the publishing industry, with numerous mass-market and niche publishers potentially merging and then going public. Given the success and attention surrounding Clubhouse, I also anticipate mergers and acquisitions activity within the realm of conversation-based social networks.

New companies entering the market must anticipate the needs of larger players, both present and future, and concentrate on areas where larger media companies would prefer to develop internally rather than acquire. I believe interactive content, encompassing gaming and extending beyond it, will be one such area.

Pär-Jörgen Pärson: The competition among streaming services appears to have stabilized, with Disney+ establishing itself as a dominant force, and Netflix reporting positive results despite facing its first significant challenges. We are also approaching a point where further consolidation by the industry giants may become problematic. The Parler app may be indicative of the potential consequences of excessive consolidation. We are investors in this space through FuboTV, and I also serve on their board; their position within the virtual MVPD sector is robust and consistently growing. They have already expanded through two acquisitions, and I expect continued substantial growth driven by mergers and acquisitions in 2021 as the market broadens.

M.G. Siegler: Yes. Specifically, the high level of SPAC activity suggests that roll-ups are more likely to occur. If we observe successful exits resulting from this trend, it could inspire others to pursue new ideas in the media space.

Laurel Touby: Yes. It’s clear that survival for many companies depends on being integrated into larger organizations. Despite the challenges, optimism remains, and I anticipate a continued influx of startups into the sector.

For instance, numerous journalists dissatisfied with current compensation levels are launching independent media ventures on platforms like Substack. I foresee a strategic aggregator acquiring these businesses and consolidating them.

Are SPACs a suitable option for digital media businesses? What are the advantages and disadvantages?

Daniel Gulati: The individuals managing these investment vehicles are generally strongly motivated to complete acquisitions. Therefore, media organizations possessing a recognizable brand and substantial revenue, yet facing challenges in securing a suitable exit strategy, will likely find themselves with increased options over the coming years.

However, long-term success following a transaction is a distinct consideration, particularly for businesses reliant on easily replicated content or revenue streams heavily dependent on specific platforms, as sustainable growth can be difficult to achieve. Companies resembling consumer subscription services with favorable unit economics, on the other hand, are likely to attract positive market valuation. Determining which companies will thrive in the long run remains an open question.

Alex Gurevich: It’s a possibility. Regardless of whether a company pursues a SPAC merger or a traditional initial public offering, it must still possess the necessary metrics and financial infrastructure to operate as a public entity. Preparing this infrastructure typically requires a significant lead time, so I’m not convinced SPACs substantially alter the timeline for companies preparing for an IPO.

Nevertheless, a faster and more affordable route to becoming a public company is a valuable alternative, and I believe it will encourage more digital media companies to assess the benefits of public ownership. Current public market valuations make this path particularly appealing compared to mergers and acquisitions. Whether this situation persists is another matter.

Matthew Hartman: SPACs represent a mechanism for companies to become publicly traded. There are already publicly held media companies, including your employer [Verizon] – which I believe directly addresses the question. It’s also important to remember that companies undertaking an IPO are restricted from discussing future plans, with projections focused on past performance. SPACs operate in the opposite manner. Therefore, for a digital media company to be a good candidate for a SPAC, it should demonstrate significant growth potential based on a clear vision for continued innovation and evolution, rather than simply maximizing its current business model.

Mike Palank: I generally believe SPACs can be a viable option for digital media companies, as they offer a more accessible pathway to the public markets and enable public investors to participate in the growth of promising businesses.

However, pursuing public status solely for the sake of being public is not advisable. A business must be fully prepared for public ownership, and a company still working to achieve profitability shouldn’t go public simply because a SPAC offers the opportunity. I believe the SPAC market is currently experiencing a period of heightened activity, and the most attractive companies were likely taken public in 2020. I’m concerned that in 2021, some less established digital media companies may go public prematurely, potentially leading to a downturn in the SPAC market.

Pär-Jörgen Pärson: If the individuals founding the SPAC possess expertise in the media industry, it could be as effective as any other SPAC. As with any investment, whether private or public, the success ultimately depends on the quality of the leadership team and their understanding of the industry. I am more focused on the anticipated surge in IPOs in the coming months. In 2020, our portfolio included six new unicorn companies, a level of activity I’ve never previously observed. I expect 2021 to witness even more companies going public, having postponed their plans in 2020 due to the pandemic.

M.G. Siegler: I think the suitability of SPACs depends on the intended strategy for these companies as public entities. While The New York Times, as a traditional media organization, has performed well, likely benefiting in part from recent events, I believe most media companies in the public market will need to demonstrate a more diversified business model.

Laurel Touby: Perhaps, but only after achieving a certain level of scale. It’s crucial to remember that even utilizing a SPAC to go public requires a fundamentally attractive business to investors. Media companies typically don’t reach this point until a later stage in their development. The majority of digital media companies are more likely to be acquired by larger entities seeking to achieve economies of scale through reduced back-end costs and leveraging existing sales and other resources.

Hans Tung: SPACs are a good option for digital media companies. A SPAC facilitates broader investor engagement and allows for direct discussion of opportunities and perspectives. A wider investor base contributes to a healthier overall market.

Are there any other thoughts you’d like to share with TechCrunch readers?

Alex Gurevich: The year 2021 will be crucial in determining the lasting effects of remote work on content creation timelines and the overall caliber of produced work. A significant portion of the content released in 2020 was likely developed in 2019 or the first quarter of 2020. Following the pandemic, how effectively did established media organizations adjust to this new environment? Were they successful in discovering innovative methods to maintain content production? Certain content types, such as animated productions, may have experienced uninterrupted workflows, potentially leading to a substantial increase in animation content this year.

Furthermore, I’m curious to see if media companies that operate exclusively online and distribute content directly will gain prominence in 2021. These businesses were better positioned to consistently deliver compelling content and experiences in a fully remote setting, while traditional companies dependent on in-person filming may have faced considerable challenges. As an example, HitRecord successfully produced a completely distributed show, “Create Together,” featuring hundreds of remote contributors, which was released on YouTube Originals and subsequently received an Emmy Award!

I plan to carefully monitor the standard of content quality and identify which content formats become dominant (animation, audio-only, documentary-style, etc.). The adaptation of the media industry will be a compelling subject to observe.

Matthew Hartman: A growing perception is emerging that technology is generating as many issues as it resolves, and recent events have highlighted this for many individuals. The very technologies intended to connect us have been exploited to divide society and undermine confidence in factual information.

Betaworks is actively seeking investments in ventures that aim to “Fix The Internet” (a project we refer to as Betalab). If you are developing a consumer application that prioritizes user privacy and data control, one that assists in measuring or countering algorithmic manipulation, or that enhances the internet in novel ways, we would be eager to discuss it with you. We are interested in both solutions to current problems and entirely new approaches that address these issues fundamentally, forming the foundation for a more positive future. The stage of development is not a concern, provided you can demonstrate a working prototype.

Jana Messerschmidt: I am particularly interested in the next generation of messaging applications and believe this sector is poised for significant innovation. We have observed a considerable increase in users on privacy-focused apps like Signal and Telegram, driven by consumer distrust of large technology companies, although the core features remain comparable to those of iMessage, WhatsApp, and Messenger.

I would like to see further advancements in consumer features within messaging, enabling functionalities such as social commerce, improved group communication and targeted broadcasting capabilities (akin to a more widely accessible IFTTT), and enhanced content creation tools.

Many individuals prefer not to share creative content with large public audiences on social media platforms, but they still express themselves digitally, often within private groups consisting of close friends and family.

Mike Palank: MaC is also dedicated to investing in companies that are building a diverse and inclusive future. The significant influence of media on shaping beliefs and perspectives is undeniable, and we are actively seeking exceptional founders from diverse backgrounds who are committed to creating companies that offer opportunities to all and prioritize the inclusion of varied viewpoints.

M.G. Siegler: Indeed. I am keenly interested in observing the future of TechCrunch itself in 2021 under Verizon’s ownership. Does the HuffPo strategy foreshadow future developments? Anthony, are you permitted to publish this?

Laurel Touby: I appreciate the work you are doing  :)

Hans Tung: Historically, the digital media landscape has presented challenges in achieving substantial exits. Over the past decade, TikTok and Snap have been exceptions rather than the norm. However, the growing popularity of video, audio, and more personalized social networks, combined with the rise of remote work and the increasing adoption of communication tools in the enterprise sector, is altering this dynamic. Additionally, new companies will draw inspiration from Peloton, creating highly immersive experiences centered around premium content. We can anticipate a greater number of noteworthy exits over the next five years.