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Beverly Hills, California, United States
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Montgomery Singman
Radiance Strategic Solutions • 27K followers
Sensor Tower's State of Mobile 2026 report dropped at year-end, and the numbers tell a clear story: non-game apps overtook mobile games in revenue for the first time in history. Global IAP revenue hit $167 billion (+10.6% YoY), while games grew just 1.3% to $81.75 billion. The China Factor Here's what often gets overlooked: China iOS alone generated $22.1 billion in 2025, ranking second globally behind the US. But Sensor Tower only tracks iOS revenue for China—the actual market is significantly larger. China has over 100 Android app stores due to Google Play's absence, with major players like Huawei AppGallery, Tencent MyApp, Xiaomi, Baidu, and Vivo controlling the majority. These Android channels contributed more than $75 billion in 2025, and China's total mobile app user spending reached approximately $217 billion, making it the world's largest mobile app market. Chinese developers accounted for 37.8% of the top 100 global mobile game publishers' revenue in January 2026, with 36 companies collectively earning $2.18 billion in a single month. Mobile app publishers really can't afford to not enter China—the doors are open. Look at Duolingo: China became their fastest-growing international market and second-largest market for daily active users after entering in 2018. China is now the largest source of test takers worldwide for their English Test product. They established their first international office in Beijing and continue expanding their local team and product offerings. Their revenue hit $483 million in H1 2025 (up 40% YoY), with China growth accelerated by strategic partnerships like Luckin Coffee, which sold over 10 million Duolingo-branded beverages across 26,000 outlets. US Market Reality Most mobile game genres are hitting saturation points in the US market. Downloads fell 7.2% to 50.41 billion, and growth now depends less on adding users and more on expanding lifetime value from existing bases. Time spent in games grew only 0.9%, while engagement patterns diverged—US time spent rebounded after 2024 declines, but China mainland fell. The Monetization Shift Three apps crossed the $1 billion IAP threshold in 2025: ChatGPT, CapCut, and WeTV. Notably, no games made this list. Hybrid-casual was the only gaming segment showing IAP revenue growth, while strategy games saw a 20% revenue surge to exceed $20 billion, driven by titles like Whiteout Survival and Last War. If you have mobile products—games or apps—that aren't monetizing in China yet, let's talk. I've spent years bringing Western products into Asian markets and can help you replicate the Duolingo model in China. Drop me a DM. https://lnkd.in/ge4adfAW #MobileGaming #ChinaMarket #BusinessDevelopment #GamePublishing #MobileApps #SensorTower #MarketIntelligence #AppMonetization #GlobalExpansion #GamingIndustry
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Felipe de Stefani
Leader Entertainment • 8K followers
Electronic Arts has agreed to a record $55 billion leveraged buyout by Saudi Arabia’s Public Investment Fund (through Savvy Games), Silver Lake, and Jared Kushner’s Affinity Partners. It marks a turning point for the videogame industry. Why it matters: 🎮 Gaming is at a crossroads. After the pandemic boom, the industry is in a downturn, with spending tightening. Publishers are now focused on how to extend the life — and profitability — of their biggest franchises. 📺 IP crossovers are the playbook. Hollywood and streaming platforms are driving value from game-to-screen adaptations: The Last of Us, Fallout, Arcane, Super Mario Bros, and soon Call of Duty. EA already has plans with Amazon MGM to turn The Sims into a movie. 💰 Saudi Arabia’s strategy. PIF has invested billions in gaming and entertainment, from Nintendo to Take-Two to Toei Animation, alongside moves into sports and cinema. Owning EA gives them Battlefield, Apex Legends, The Sims, Madden, and FIFA — franchises with both gaming and media potential. ⚠️ The risk. Expanding IP comes with massive production costs. Other firms, like Embracer, learned the hard way when acquisitions didn’t translate into successful content. As one analyst put it: “The value of high-end gaming IP is only increasing, but execution will be everything.” This deal highlights gaming’s role as a central pillar of global entertainment. The next great battle for audience attention will play out across consoles, streaming platforms, and movie theater screens. https://lnkd.in/dGhfGFC5
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Hira Bulani
Milesahead holiday homes • 1K followers
MDOM is making significant strides in the entertainment industry by addressing key challenges and leveraging blockchain technology. 1. **Clear Problem-Solution Framing** The whitepaper effectively identifies major pain points in entertainment, including piracy, centralization, and opaque revenue models. It proposes practical, blockchain-based solutions across funding, distribution, and ownership, demonstrating a strong alignment with market needs. 2. **Full-Stack Ecosystem Vision** MDOM outlines a comprehensive suite of utilities, including crowdfunding, streaming, yearly dividends,staking, governance, creator tools, and decentralized mini multiplexes. This ecosystem approach creates multiple utility touchpoints for the token, enhancing its long-term viability. 3. **Sound Tokenomics & transparent Investor Design** The well-structured allocation, vesting schedules, and inflation control mechanisms, such as burns and staking rewards, reflect careful consideration of investor trust and sustainability—an essential factor in today's digital assets world. 4. **Trend-Aligned Mission** By positioning MDOM as a tool for global creator empowerment and decentralized media distribution, it taps into the growing interest in Web3 and the creator economy narratives, making it timely and relevant. MDOM's unique selling proposition: -INVEST - EARN - TRADE - REPEAT-
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Tilmann Gruber
Truth in Data - AI • 16K followers
The WBD bidding surge signals more than interest in media. It reflects a shift in how capital evaluates opportunity. When several global buyers reach a second round of binding offers for a company with studio assets, streaming operations and international distribution, it shows investors are prepared to handle complex structures again. That matters across the broader market. This type of activity often moves ahead of wider private equity confidence. Analysts, miners, RWA leadership teams and informed investors track these signals closely. When capital becomes comfortable with complexity, hiring acceleration is typically next. Firms begin reinforcing executive teams, upgrading capabilities and preparing for growth. The takeaway is clear. Executives who bring investor fluency, transformation experience and disciplined scaling capability will be prioritised as momentum builds. This is a moment to prepare, not pause. Market signals are moving and leadership expectations will rise with them.
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Franklin Kostenko
KingsRock Advisors • 2K followers
At PacRim Labs LLC — Today Film financing landscape is undergoing a transformation. Mainstream capital is only now catching up with what independent producers and global storytellers have known: the opportunity in media is real and under-invested. Investors such as my friends at Upstart Co-Lab are calling this out, events like the International Film Finance Forum are validating new models of cross-border structure, tax incentives, and risk-aware production finance. At PacRim Labs LLC, we are positioning the company at the intersection of production, finance, technology and global sourcing— deploying capital into quality pre-sold theatrical and streaming content offering package investors access via well-structured proceeds, security and upside. I believe this is how the next generation of film-fund managers and producers will operate — rigorous finance meets creative vision. A few key differentiators: -Financial discipline and investment structuring -Global production sourcing and incentive optimization -Distribution & sales funnel aligned from day one -Investor-oriented mindset with transparency, oversight and control
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Guillaume Therien
LocusX • 8K followers
Great to have some data on the licensing deals 💸 / expectations in the context of #music 🎶 and #AI 🚀 "Music licenses for AI training cost between $1 and $4 per track. High-quality datasets can cost from $1 to $5 per minute for non-exclusive licenses, and from $5 to $20 per minute for exclusive licenses. Transcription and emotion labeling, among other factors, garner higher prices." Credits: The Verge https://lnkd.in/eCZMiHw9
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Grayson Sanders
Chordal • 4K followers
2025 TLDR: Music labels and publishers on Chordal are now making *new* 6-figure annual revenues from InstantClear. We started 2025 by announcing InstantClear - our solution for how to scale micro-licensing (social, podcast, reality…) for popular copyrights without requiring dynamic pricing, sacrificing creative curation, or an insane amount of administrative lift for large catalogs. (We also talked a lot about why after real-world trials, we feel dynamic pricing is not the way forward.) We launched a V1, got boatloads of feedback from licensees and licensors, and here are some pieces of data I’m particularly proud to share: -->People made real money. In many cases, this was the first time they had been able to monetize pre-cleared licensing because they didn’t control songs one-stop. No manual invoicing, pro-rata payments arrived in their accounts. -->120,000+ songs became eligible for InstantClear. These are songs where all fractional owners on a copyright have claimed their shares on Chordal, so they are now fully pre-clearable using InstantClear. Does this seem small relative to the world’s total music? Of course. But consider progress made on point 3… -->We generated 106x efficiencies for label and publisher teams navigating the pre-clearance process. Last year, we asked some of our clients “How hard would it be to pre-clear your full catalog for certain types of uses or media? (Maybe for example, Social Media (Unpaid))”. Typical answers: Impossible. We’ll never do it. Runs for open window… Why? Because in the end, the ROI likely isn’t worth it, or at least quantifiable enough to project against. Tons of email correspondence for approvals, contracts, payments, invoices, all likely managed by a 6-figure employee. In fact, you'll probably make more money litigating the infringement… but longterm do we really want to make enemies out of all our potential buyers? Maybe it's better to show them a compliant path. We then asked: “If you've done pre-cleared licenses, how many songs on average were you able to clear and how long did the process take?” The answer on average: 50-500 songs, and about 20-200 hours of work. The equation was simple, to grow this area for rights holders, we needed to help them reduce the time and effort for everyone, so they can unlock more pre-clearable tracks. More pre-cleared tracks results in a better experience for higher-volume or less sophisticated buyers. More buyers=more revenue, less infringement. Positive feedback loop for all! So…when we helped a company turn 400 songs pre-clearable into 9,000+ this year, it felt encouraging. And to hear that it only required about 30 minutes of their team’s effort instead of 20 hours…. felt VERY encouraging. A huge thanks to everyone that continues to believe in us. More to come and a lot of exciting new partnerships along the way. Happy 2026!
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Daren Smith
Craftsman Films • 12K followers
To protect capital and velocity in indie film, we follow this rule: Structure > Size. Timing > Optics. Alignment > Assumptions. • Stronger Equity: Not 40% with no control. 60–70%, with aligned partners. • Faster Payback: Waterfall that prioritizes equity. Returns in 3–4 years. • Smart Incentives: Used as leverage to support equity, not substitute it. The goal? Predictable capital return. Real upside. No wishful thinking. Here's the full breakdown: https://lnkd.in/gU8mUSZh
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Peter Barber
ATOMOS • 12K followers
Robert Rodriguez runs post-production at Point.360 in Burbank, California. It’s a full-service post and media company that deals with real scale and real pressure, from episodic series like Cobra Kai, Matlock and Yellowjackets, through to upcoming Disney Channel titles and independent projects such as Weird: The Al Yankovic Story and the forthcoming Long Haired Businessmen for Paramount. Alongside that work, Robert is also a filmmaker himself. He spends a lot of time helping filmmakers at every level make sensible decisions about how they finish their projects, because he understands first-hand how easily small workflow problems can turn into expensive ones later on. Robert’s team has been using ATOMOSphere to simplify the process of moving media from production to post. What mattered to them was not adding complexity or changing how people work on set, but removing the gaps that slow everything down once cameras stop rolling. Media arrives earlier, post teams can see what they are dealing with sooner, and decisions get made with better information. From Robert’s perspective, that early visibility is critical. When post knows what is coming in while a project is still in motion, problems are easier to solve and creative intent is easier to protect. It also makes conversations with filmmakers clearer and more constructive, especially when budgets and timelines are tight. This case study is a good example of how experienced post professionals think about workflow. Read the full case study here: https://lnkd.in/gAJCYRH9
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Elen Orleans
ECO Marketing Agency • 4K followers
The U.S. government is finalizing a multi-billion purchase to transfer ownership of TikTok’s U.S. operations to a consortium of American companies and investors. Key players in the deal: Oracle (Larry Ellison) → to manage U.S. data and infrastructure. Michael Dell → tech entrepreneur and investor. Andreessen Horowitz & Silver Lake → venture capital and private equity giants. Fox Corp (Rupert & Lachlan Murdoch) → a media powerhouse with deep political and cultural influence. This isn’t just about national security, it’s about the economy. In 2023 alone, TikTok contributed $24.2 billion to U.S. GDP and supported over 224,000 U.S.-based jobs. The broader creator economy is equally staggering: Goldman Sachs reported the influencer industry was worth $250 billion in 2023 and is projected to nearly double to $480 billion by 2027. Whoever controls TikTok also controls one of the fastest-growing cultural and economic pipelines in the world. The deal highlights the convergence of tech, finance, and media in shaping the future of advertising, commerce, and storytelling.
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Damien Reilly
Newport Mining Ltd • 5K followers
Universal Music Group just signed a multi year licensing deal with China’s NetEase Cloud Music. That means artists like Taylor Swift are now officially available on one of China’s biggest streaming platforms. On paper, this looks like a big win. More reach. More listeners. More revenue. Access to one of the largest music markets in the world. But I keep wondering who really wins here. Is this about empowering artists with global distribution, or is it about labels locking in market share while platforms tighten their grip on music catalogs? China is not just another territory. It has a very different approach to data, content control, and technology. When Western music giants rush into these deals, are they thinking long term about artist rights and transparency, or short term about growth numbers? UMG also highlighted “responsible use of AI” as part of the agreement. That sounds good. But let’s be honest. Every major licensing deal now comes with AI language. Is that real protection for creators, or just a legal cushion while platforms train, analyze, and monetize music data at scale? Fans in China finally get official access to huge catalogs. That part is great. But does wider access automatically mean fairer value for artists? Curious what others think. Is this a smart expansion move for the industry, or another step toward platforms and tech companies gaining more control over music than the creators themselves? Would love to hear different viewpoints.
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