people mix up two very different types of pivots and that it’s important to differentiate which path you’re on: Ideation pivots: This is when an early-stage startup changes its idea before having a fully formed product or meaningful traction. These pivots are easy to make, normally happen quickly after launch, and the new idea is often completely unrelated to the previous one. For example, Brex went from VR headsets to business banking, Retool went from Venmo for the U.K. to a no-code internal tools app, and Okta went from reliability monitoring to identity management all in under three months. YouTube changed direction from a dating site to a video streaming platform in less than a week. Hard pivots: This is when a company with a live product and real users/customers changes direction. In these cases, you are truly “pivoting”—keeping one element of the previous idea and doubling down on it. For example, Instagram stripped down its check-in app and went all in on its photo-sharing feature, Slack on its internal chat tool, and Loom on its screen recording feature. Occasionally a pivot is a mix of the two (i.e. you’re pivoting multiple times over 1+ years), but generally, when you’re following the advice below, make sure you’re clear on which category you’re in.

When looking at the data, a few interesting trends emerged: Ideation pivots generally happen within three months of launching your original idea. Note, a launch at this stage is typically just telling a bunch of your friends and colleagues about it. Hard pivots generally happen within two years after launch, and most around the one-year mark. I suspect the small number of companies that took longer regret not changing course earlier.

ou should have a hard conversation with your co-founder around the three-month mark, and depending on how it’s going (see below), either re-commit or change the idea. Then schedule a yearly check-in. If things are clicking, full speed ahead. If things feel meh, at least spend a few days talking about other potential directions.

Brex: “We applied to YC with this VR idea, which, looking back, it was pretty bad, but at the time we thought it was great. And within YC, we were like, ‘Yeah, we don’t even know where to start to build this.’” —Henrique Dubugras, co-founder and CEO

The race for the streamers to configure themselves as full-service production, distribution, and exhibition outlets has intensified the need for each to articulate a more specific brand identity.

What we are seeing with the streaming wars is not the emergence of a cluster of copy-cat services, with everyone trying to do everything, but the beginnings of a legible strategy to carve up the mediascape and compete for peoples’ waking hours.

Netflix’s penchant for character-centered stories with a three-act structure, as well as high production values (an average of $20–$50-plus million for award contenders), resonates with the “quality” features of the Classical era.

rom early on, Netflix cultivated a liberal public image, which has propelled its investment in social documentary and also driven some of its inclusivity initiatives and collaborations with global auteurs and showrunners of color, such as Alfonso Cuarón, Ava DuVernay, Spike Lee, and Justin Simien.

Quibi as short for “Quick Bites.” In turn, the promos wouldn’t so much emphasize “the what” of the programming as the interest and convenience of being able to watch it while waiting, commuting, or just taking a break. However, this unit of prospective viewing time lies uncomfortably between the ultra-brief TikTok video and the half-hour sitcom.

Peacock’s central obstacle moving forward will be convincing would-be subscribers that the things they loved about linear broadcast and cable TV are worth the investment.

One of the most intriguing and revealing of metaphors, however, isn’t so much related to war as celestial coexistence of streamer-planets within the “universe.” Certainly, the term resonates with key franchises, such as the “Marvel Cinematic Universe,” and the bevvy of intricate stories that such an expansive environment makes possible. This language stakes a claim for the totality of media — that there are no other kinds of moving images beyond what exists on, or what can be imagined for, these select platforms.