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News that Bytedance will shut down its 18-month old TikTok Music on-demand music streaming service might have come as a surprise to some people. After all, TikTok has over 1 billion monthly active users globally and singlehandedly redefined music discovery by turning generation of smartphone users onto music-based, short-form videos.
But TikTok Music’s demise was entirely predictable. Building a sustainable on-demand music streaming service is incredibly challenging. The digital music graveyard is littered with streaming products that didn’t last — remember Rdio, Boinc, Guvera, Turntable.fm or SpiralFrog? Not even a well-funded platform from a corporate giant is guaranteed of success. Sony’s Music Unlimited didn’t last. Nor did Microsoft’s Zune. Xiami, founded by Chinese e-commerce giant Alibaba, shut down in 2021 after 12 years.
Bytedance’s uphill road was made more difficult when it took on a different role with TikTok Music. TikTok was an insurgent that built itself without the typical constraints facing typical streaming services. The app created a new use case for music in the same way the download succeeded the CD and streaming succeeded the download. TikTok Music, on the other hand, was constrained by the licensing terms that govern on-demand services.
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As a result of those rules, Bytedance built something more like Spotify than TikTok because it didn’t have any other choice, says MIDiA Research’s Mark Mulligan. “TikTok Music had massive potential to be these so many things that didn’t look anything like any other [digital service provider],” he says. “But they still ended up having to make something that looked pretty much like any other streaming service.”
That TikTok Music resembled every other music streaming service was a problem, Mulligan argues, not a solution for a new market entrant. On-demand music has become a well-functioning utility like water service, he explains, but one that doesn’t build communities, drive fandom or create conversion — things TikTok does well and TikTok Music couldn’t. “We all really value the water that comes out of our taps, but we rarely go down to the local bar and talk to our friends about how great the water is that comes from taps,” says Mulligan.
These aren’t just any utility companies TikTok Music has been competing against. Market leader Spotify, with its $76 billion market capitalization, is far smaller than the next three companies, Apple, Google and Amazon. These four companies, and even smaller ones like them, have spent years pouring resources into building products and features that keep people listening to music, podcasts and, in the case of Spotify, audiobooks.
TikTok is great at creating engagement, too, but getting people to listen to full songs is different than feeding them a never-ending series of 15-second video clips, says Vickie Nauman, founder of CrossBorderWorks, a music tech and consulting and advisory firm. “You can’t necessarily translate that to something else.”
Things might be different if TikTok Music could differentiate itself on catalog by offering music not available on other music platforms. That’s how it works with on-demand video streaming. But global music services have, more or less, the same catalogs. Offering the world’s music has long been part of the music subscription service’s value proposition. So, music streaming services instead compete against one another on their user experiences.
On-demand services “had to make [the user experience] so elegant, so intuitive, and really, really customize it to consumers,” Nauman explains. In her experience, people underestimate the difficulty of creating a great product and executing the technology that underpins it. “It’s incredibly challenging,” she says. “Not only the user experience,” she continues, but the technology required to manage many tens of millions of tracks. “I think a lot of companies just really misperceive it.”
Changing consumer habits was always going to be a problem, too. It would be presumptuous to think anybody with a TikTok app would become a TikTok Music subscriber. Not every iPhone owner subscribes to Apple Music even though Apple offers a free trial to new iPhone owners and bundles the music service into a money-saving package, Apple One. Even though Alphabet owns both the Android operating system and YouTube, not every Android Phone owner subscribes to YouTube Music.
“To some extent, I’m not surprised” by TikTok Music’s failure, says MusicWatch principal Russ Crupnick. When MusicWatch surveyed American TikTok users about their interest in a standalone TikTok streaming service, the reaction was “surprisingly low” and “very lukewarm,” he says. (TikTok Music never launched in the U.S.) “Getting most people to switch [subscription services] at this point is a bit of a challenge. You’re more likely to get people to use multiple services.”
In the U.S., self-pay subscribers — not including free trials — have an overage of 2.3 music subscription services, according to MusicWatch. That includes Amazon Prime, which online shoppers buy mainly for free shipping, as well as satellite radio service SiriusXM. Asking people paying for multiple services to pay for one more music subscription plan is a tall order for a newcomer like TikTok Music. What’s more, MusicWatch found that Spotify ranks behind only Amazon Prime in terms of subscriber passion. When the economy gets rough, Spotify users are relatively unlikely to cancel their plans.
Zoom out and the demise of TikTok Music reveals something else about the music streaming market. In 2024, the number of global platforms may have reached a steady state and new entrants are unlikely to appear (and, like TikTok Music, any attempts will be unsuccessful). Experts who spoke with Billboard don’t foresee there being another company with both the funding and the stomach to take on the demands of licensing and administering rights for a huge amount of music.
“We’re at a fork in the road where all of these broad catalog licenses are kind of exhausted,” says Nauman. Gaming companies have the money but don’t need to license entire catalogs, she adds. Fitness companies that had licensed large catalogs now “want simpler solutions.”
If new entrants are going to find success, says Mulligan, it could be in “regional hubs” in which streaming services can license a smaller amount of local music and focus on markets where Western repertoire is less important. In China, for example, a market dominated by local music licensed by local rights owners, Tencent Music Entertainment has 117 million subscribers and Cloud Music had 44.1 million at the end of 2023 (the last figure the company made available). But regional services are being threatened by the bigger global companies. In some populous markets such as India and the Philippines, dominant Western companies have pushed aside local players.
In the end, Bytedance doesn’t need TikTok Music to be an influential force in music. Mulligan thinks it’s possible that the “majority” of music activity — not revenue — will happen on TikTok within three to five years. Younger people want to create, not just consume, he says, and TikTok could become a self-contained ecosystem that captures more of its users’ time — at the expense of the kind of on-demand streaming business that Bytedance is now abandoning.
The Global Citizen Festival is back, and countless artists, activists and advocacy organizations are coming together this weekend to raise awareness and spark global change.
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Among the star-studded performers taking the stage at the event on Saturday (Sept. 28) are Doja Cat, LISA, Post Malone, Jelly Roll, Raye, Rauw Alejandro and Benson Boone. The festival is dubbed Global Citizen Live, a 24-hour music festival spanning six continents and featuring hundreds of artists and celebrities.
Deadpool star and Global Citizen Ambassador Hugh Jackman will host this year’s festival live from New York’s Central Park.
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Want to tune in? See below for how to watch and stream the 2024 Global Citizen Festival online.
What Is the Global Citizen Festival?
The Global Citizen Festival is one of the main events for Global Citizen, an organization that aims to end extreme poverty in the world by the year 2030.
The performers will try to rally citizens across the planet to demand that governments, major corporations and philanthropists work together to defend the planet and defeat poverty; support the campaign, earn tickets and take action.
The festival will also feature appearances from Coldplay’s Chris Martin, Dr. Jane Goodall, Bill Nye, Bridget Moynahan, Charlamagne Tha God, Danai Gurira, Gavin DeGraw, Kal Penn, Sophia Bush, Rhett & Link, Liza Koshy, Eric Adjepong, Jordan Fisher, Anthony Ramos, Whoopi Goldberg, ALOK, Gayle King, Josh Martinez, Minda Dentler, Calvin Royal III, Drew Afualo, Nikolaj Coster-Waldau, Tatyana McFadden and Troy Iwata.
Global Citizen Festival 2024: Date, Start Time, Tickets
The Global Citizen Music Festival 2024 kicks off on Saturday (Sept. 28) at 4 p.m. ET/1 p.m. PT.
Tickets to the show are free, but a select number of last-minute tickets are available up on resale sites — and they’re selling out quickly. There are still some good seats still available on VividSeats for the show at The Great Lawn in NYC’s Central Park.
How to Watch Global Citizen Festival on TV
You can watch coverage of the Global Citizen Festival on TV beginning at 4 p.m. ET/1 p.m. PT on ABC News Live.
Signing up for free trial from fuboTV will give you access to ABC News Live. Fubo includes local and cable channels, to let watch Global Citizen Live and more on TV or stream Global Citizen Live from your laptop, tablet or phone.
Although DirecTV Stream offers access to ABC, Global Citizen will be available on ABC New Live, instead of network channel, which will be airing college football. Additionally, purchasing a digital TV antenna on Amazon here will give you access to basic cable channels, including ABC, without a monthly bill.
How to Stream Global Citizen Festival Live Online
Fans can also watch the Global Citizen Festival online, as the show is available to stream free with a Hulu + Live TV subscription. The streaming service is currently offering a 30-day free trial which you can use to watch online free.
Global Citizen Festival will also stream on Disney+, Hulu, Samsung TV+, Amazon Music, Amazon Music’s Twitch channel, Apple Music, Apple TV, YouTube, Facebook, Veeps, Roku, iHeartRadio, Brut and on the Global Citizen site.
To stream internationally, you’ll need help from a VPN such as ExpressVPN to access certain platforms.
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Source: CHRIS DELMAS / Getty / Disney Plus
The days of your homie, cousin, or boo thang sharing your Disney+ account for free are coming to an end.
Disney Plus is following Netflix’s example by cracking down on account and password sharing. Its new “paid sharing program” is rolling out to subscribers in the US and other territories.
The paid sharing program was teased during earnings calls earlier this year and is now a reality, with subscribers getting options from which they can choose.
The idea of the program is to convert those using other people’s accounts into paid subscribers.
Per THR:
The paid sharing program has a couple of options for users, per a blog post published Wednesday: People sharing an account with someone outside their household can add that person as an “Extra Member” for $6.99 per month for Disney+ Basic, or $9.99 for Disney+ Premium, both discounts to the normal retail price. Only one Extra Member will be allowed per account, and it is not available as part of the Disney Bundle.
In addition, users sharing an account can also subscribe to Disney+ themselves, and can transfer an eligible profile to the new account to keep their watch history and settings.
According to the Disney+ help center, “Disney+ will automatically detect and establish your Household based on your subscription activity, linked devices, and internet connection among other factors.” If it thinks you are watching outside your household, you may need to enter a one-time password to verify that you are adding a location to your household, or that you are traveling away from home.
Nobody Is Feeling This Decision From Disney Plus
As you can imagine, subscribers are not feeling the idea, especially since they are subject to annual price hikes.
“This is why people pirate bc of you dumbass companies not letting password sharing,” one user wrote on X, formerly Twitter.
Another user noted, “This is why I stick to Blu Rays and DVDs.”
Disney+ isn’t winning anyone with this decision; you can see more reactions in the gallery below.
2. Lol, well damn
In the late ‘90s, shortly after graduating high school, Timothy Trudeau was already making his mark in music, launching his multi-faceted company Syntax. He worked in production and songwriting, working with nu metal band P.O.D. on pre-production in Syntax’s studio, and producing Tonex’s song “Dancing in the Son” on his 02 album for Jive Records. Other artists Trudeau has worked with include Man of War, Kaboose, Grits, and Nappy Roots (handling drum programming for their song “Right Now,” featured on the 2005 Daredevil soundtrack). He also performed as part of the group Sackcloth Fashion.
His journey as a creative and businessperson largely centered on Christian hip-hop, a niche scene that nonetheless was close to his heart and a lifelong passion to that point.
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“I was a big fan of Christian hip hop growing up, and so I was already kind of well immersed in that space,” Syntax Creative CEO/founder Trudeau says of his early entryway into music. “I was putting beats on a cassette and mailing them to folks. I would go to shows and I drove up one time to L.A. and gave a beat tape to [rapper] Pigeon John, who later ended up putting his first record out [Is Clueless] on our record label [via The Telephone Company/Syntax Records]. I was just trying to get anyone I could to take a listen, and if nothing else, give feedback, tell me what they thought.”
By 2004, Syntax Creative was officially incorporated and has since evolved into a top independent music distributor and marketing agency, representing the exclusive global rights to over 150 record labels. Syntax began in the physical retail distribution space, but Trudeau could see where things were heading, and early on Syntax was already negotiating direct deals with organizations including Apple iTunes, as well as Amazon, Google, Microsoft, Yahoo, and later Spotify.
“When we finally decided to go all the way digital, it was just about waiting for some of the other aspects of the industry to catch up with that,” he says. “We used to have to pay all these extra fees and surcharges for shipping and return fees and those kinds of things—so by the time the listener would buy a CD for $16.98 plus tax, we’d be already $30 into that record, and physical distribution in CDs was the loss leader back then.”
Syntax earned its reputation working in Trudeau’s strong suit of Christian hip-hop. But he soon had a realization. “What we quickly realized was what works for one niche works in another one just the same,” he says. “We figured out that what we did for a hip-hop record worked for a bluegrass record as well.”
In 2008, Syntax began to branch out, bringing on clients like Bluegrass/Americana label Crossroads Label Group, which introduced Syntax Creative into the bluegrass space. Crossroads Label Group is home to labels including Mountain Home Music Company and Organic Records (and music from artists Kristin Scott Benson, The Grascals, Tray Wellington and Sister Sadie); Old Bear Records (Andrew Greer, Kevin Max); Man-do-lin Records (Ronnie Reno); and Frontline Records (12th Tribe), among many others. In 2009, the company doubled the size of its catalog from the previous year.
A decade later, the company relocated from California to Nashville, as many of their clients were already based in Tennessee, and picked up Dark Shadow Recording (Becky Buller, Man About a Horse). Earlier this year, Syntax added more clients in Gray Artist Services, 403 Music and Sound Biscuit. They also teamed with Christian music and entertainment site NewReleaseToday’s label NRT Music, to provide marketing and digital distribution for the label, and teamed with Blue Flower Records and folk duo The Gray Havens. Syntax has also continued further building its reputation in the bluegrass space through its partnership with Rebel Records, the 64-year-old label whose catalog of over 4,800 songs includes music from Larry Sparks, Ralph Stanley, Del McCoury and Bill Emerson.
Syntax offers a differentiating factor in that it not only distributes music but offers a range of services including marketing, royalty consolidation and label services. While artists today have a range of social media outlets at their disposal, he’s found that every genre, from mainstream pop to more niche genres has benefited from TikTok.
“If artists only have enough time for one, it should be TikTok, because really all the people are doing right now anyway, is there, and then they go over and just post the same video at another [social media] network,” he says.
Even with all the controversy surrounding the money artists and songwriters make (or don’t make) from streaming, Trudeau says he advises artists to look at the role of DSPs differently.
“I feel like a lot of these DSPs get a bad rap because I think the artists have now looked to the DSPs and they think, ‘We’re in the music business. I need all my income to come from Spotify,’” he says. “And it’s like, ‘What if Spotify was the loss leader?’ That’s one thing we’re always trying to work with our artists on — you’re not in the Spotify business or you’re not in the CD business, you’re in the music business. So how can we monetize everything around it in a way where you can actually do this full-time or even part-time?”
Trudeau, who has served on both Dove Awards and Grammy screening committees and is an active board member of the Music Business Association, has also led educational tracks for conferences including Music Biz, Gospel Music Association, Flavor Fest and more.
“We’ve had a lot of fun helping the labels and the artists that we work with on just practical things that they can do that will help their careers, and help increase their revenue,” Trudeau says.
The best advice I received is: One thing that stood out to me early on was the person who picks up the phone, and the person who sends the email, those are the ones that things happen for them. Maybe they get told ‘No’ 99 times, but then the 100th time, they get told yes.
I would tell people coming up in this industry: The live show is still number one—that’s a way to connect that I still think a phone and social networks will never be able to replace. And those people that were at those smaller, beginning shows, they will follow them all the way. They will be the ones buying the VIP stuff—not that you can’t convert someone who came into it later, but those early fans are often really invested.
In my job, it’s good to have: I’ve never really been one to overreact or get too heated up. It seems like that’s served me well. Being calm, even when things are crazy, has helped a ton. Working with people—we have 150 record labels and that’s a lot to juggle. You get people calling if they are going through something or need advice because they know I’m going to be rational and not overreact.
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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Lady Gaga is dancing her way into her villain era as she takes on the role of Harley Quinn in the […]
TikTok plans to end its subscription streaming service, TikTok Music, the company announced on Tuesday (Sept. 24). TikTok Music, which is currently available in Indonesia, Brazil, Australia, Singapore and Mexico, will wind down on Nov. 28.
The company will pivot to focus its efforts on the “Add to Music App,” which launched last November and allows users to save a track they discover on TikTok to their preferred streaming service with a few clicks.
“Our Add to Music App feature has already enabled hundreds of millions of track saves to playlists on partner music streaming services,” Ole Obermann, TikTok’s global head of music business development, said in a statement. “We will be closing TikTok Music at the end of November in order to focus on our goal of furthering TikTok’s role in driving even greater music listening and value on music streaming services, for the benefit of artists, songwriters and the industry.”
To the extent that the “Add to Music App” sends more TikTok users to streaming services to listen to songs they found first via short-form video, the music business views this as a win. The industry believes TikTok doesn’t pay enough when music is consumed on the platform, leading to a headline-grabbing stand-off with Universal Music Group earlier this year. Music rights holders are happier, however, with the rates at Spotify, Apple Music and Amazon Music.
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TikTok launched TikTok Music — Obermann described it as “a new kind of service that combines the power of music discovery on TikTok with a best-in-class streaming service” — in Indonesia and Brazil in July 2023. It expanded to Australia, Singapore, and Mexico in October of that year.
“TikTok Music will make it easy for people to save, download and share their favorite viral tracks from TikTok,” Obermann said in a statement at the time. “We are excited about the opportunities TikTok Music presents for both music fans and artists, and the great potential it has for driving significant value to the music industry.”
The company rolled out the “Add to Music App” soon after, making it available to U.S. and U.K. users in November. The language Obermann used to describe this new feature wasn’t all that different from the way he talked about TikTok Music.
The “Add to Music App” represents “a direct link between discovery on TikTok and consumption on a music streaming service,” Obermann said, “making it easier than ever for music fans to enjoy the full length song on the music streaming service of their choice, thereby generating even greater value for artists and rights holders.”
While TikTok has often seemed like a competitor to streaming services — especially when it comes to cornering the market on music discovery — the “Add to Music App” announcement stressed that they were all happy partners in a listener’s journey.
“We want to create less work to get to the audio you love,” Sten Garmark, Spotify’s global head of consumer experience, said in a statement last year. “That means being everywhere our users are and creating seamless ways to save songs to Spotify to enjoy when and how they choose to listen.”
In February, TikTok expanded access to the Add to Music app, making it available in 163 countries.
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Anthony Joshua and Daniel Dubois will go round for round in an IBF heavyweight championship fight airing live from London’s Wembley Stadium on Saturday (Sept. 21).
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“I look at myself as a gladiator and I’m going to step into the arena tomorrow to perform for the people,” Joshua said a press conference on Friday, per the BBC.
The 34-year-old boxer’s record stands at 28-3 with 25 knockouts while Dubois, 27, has a 21-2 record with 20 knockouts.
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“I’m ready to fight, just time to get in the ring and fight,” Dubois said according to ESPN. “I’m ready to go. A lot of work going into this, a lot of training. I win by any means necessary.”
The British boxers are expected to take the ring in front of a sold-out crowd of 96,000 fans.
Keep reading for ways to watch online.
Where to Watch Joshua vs. Dubois Live from the U.S.
The Joshua vs. Dubois fight will be available to stream on PPV.com and DAZN for $19.99.
Live coverage starts at 11 a.m. ET for viewers in the U.S., but if you feel like sleeping in, the main event is scheduled to start at around 2 p.m. ET on Saturday. Ring walks will start at around 5 p.m. ET.
Besides the marquee fight, there are several other boxing matches on the undercard including Joshua Buatsi vs. Willy Hutchinson for the interim WBO light heavyweight title.
The fight card also features Tyler Denny vs. Hamzah Sheeraz in a bout for the European middleweight title, Anthony Cacace vs. Josh Warrington for the super featherweight title, Josh Kelly vs. Ishmael Davis in a middleweight fight and Josh Padley vs. Mark Chamberlain in a lightweight fight.
Universal Music Group hit enough right notes during its first Capital Markets Day (CMD) presentation since before going public in 2021, judging from Billboard’s review of a handful of equity analysts’ comments on Tuesday’s event.
Reviews of the presentation from London’s Abbey Road Studio, which featured talks by CEO Lucian Grainge and other top executives, varied from zealous to merely positive. JP Morgan analysts called UMG’s presentation “one of the best capital markets days we have attended in the past 30 years, and it further increased our already high conviction in the UMG story.” Barclays analysts didn’t believe there was enough new information to change investors’ minds about the company. Still, they wrote, “We viewed UMG’s arguments as convincing and their financial targets as achievable.”
As for the targets, UMG said revenue will grow at more than a 7% cumulative annual growth rate (CAGR) through 2028 — not including the impact of any mergers and acquisitions. As JP Morgan noted, UMG stuck with the “high single digit growth” it gave in its last CMD presentation before going public in September 2021. In other words, UMG believes it can achieve the same high single-digit growth rate that initially lured streaming-hungry investors when the company broke off from Vivendi three years ago. Had UMG downgraded to a lower revenue CAGR — say, in the mid-single digits — the post-presentation commentary wouldn’t have been as kind.
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Subscription music streaming’s role is so vital to UMG’s future that it crafted a narrative to explain how it can achieve CAGR of 8% to 10% in subscription revenue. It’s called Streaming 2.0 and it took center stage in the CMD presentation. In the initial Streaming 1.0 phase, services such as Spotify and Apple Music kept prices steady while prioritizing acquiring subscribers over maximizing revenue per user (ARPU). They paid the same royalty regardless of creator and quality of music. They built global presences but got most of their revenue from a relatively small number of Western markets.
Streaming 2.0 is about monetization and getting more from existing subscribers while signing up customers in developing markets. Not every stream will be worth the same and generic “functional music” will get paid less. Streaming platforms will use customer segmentation to offer premium experiences for customers willing to pay more. To that end, CFO Boyd Muir revealed that UMG is in “advanced talks” with Spotify about its planned “superfan” tier, which Spotify CEO Daniel Ek has said could be priced at $17 or $18 per month. Tencent Music Entertainment already offers such a product, Super VIP, that costs five times as much as a normal subscription.
With streaming growth slowing, it was important for UMG to prove it has a plan for the future of streaming. After all, subscription growth has an outsized impact on investors’ outlook. In July, UMG’s stock dropped 24% in a single day after UMG’s second-quarter earnings revealed a sudden, sharper-than-expected slowdown in streaming revenue. Streaming 2.0 neatly packages UMG’s various tactics into a simple, understandable concept.
UMG also leaned heavily into direct-to-consumer (D2C) sales of merch, vinyl and other items, and Muir gave a new data point: the company’s D2C sales are growing at a 33% CAGR and totaled 548 million euros ($612 million), or roughly 5% of total revenue, from about 1,300 online stores. That gives UMG a massive amount of data on its artists’ biggest fans. “The superfan/D2C opportunity is not just a complementary high growth revenue opportunity,” Muir said. “It’s also an important competitive advantage that is increasing our appeal to artists and giving us the capability to do more for them than our competitors.”
The music business has changed dramatically since UMG’s last CMD presentation in 2021. TikTok became the de facto way to break new artists. Vinyl sales exploded. Labels got better at selling directly to fans. Subscription services finally raised their prices. Artificial intelligence quickly became both public enemy No. 1 and the next big opportunity. Companies made a staggering number of investments in developing markets.
UMG’s task was to show it had a believable vision for the future. Given everything the company laid out, Grainge was able to do that when he told investors that “we are nowhere close to achieving the full potential of our business.”
Investors will want to see results first, though. In a week when stock markets rallied after the U.S. Federal Reserve chopped interest rates, UMG’s share price dropped 3.6%.
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Looking to watch a film inspired by a bestselling book? If you don’t already know, the film It Ends With Us is the movie adaptation of Colleen Hoover’s wildly popular novel. This movie has taken the world by storm, earning over $309 million at the global box office. The film premiered in theaters in August. Although there isn’t a DVD and digital release date yet, you can pre-order it on Prime Video for $24.99.
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The film follows Lily Bloom (played by Blake Lively), a young woman who navigates a complicated relationship with her first love. As she gets older, she falls for a charismatic neurosurgeon, Ryle Kincaid (played by Justin Baldoni). While dealing with love, trauma and making tough choices, Lily learns the importance of breaking abusive relationship cycles. According to a review from Collider, the movie showcased an “emotional and effective depiction of domestic violence and how to find the strength to overcome it.”
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Director and executive producer Justin Baldoni shared in an interview with Today on what it was like directing a movie told in a female lens. “The last thing I wanted to do was have a male gaze penetrate these very important moments that need to be told in a truthful way, to represent all of the women that experience them every day,” he said.
It Ends With Us is directed and executive produced by Justin Baldoni. This film was also produced by Alex Saks, Jamey Heath, Blake Lively, and Christy Hall. The cast includes Blake Lively, Justin Baldoni, Brandon Sklenar, Jenny Slate, and Hasan Minhaj.
Keep reading for details on how to watch It Ends With Us online.
How to Watch It Ends With Us Online
Viewers can pre-order the movie today on Amazon at just $24.99. You can now pre-order It Ends With Us in two formats: DVD for $26.99 and Blu-ray for $24.99.
Not subscribed to Prime Video? You can join Amazon Prime under a free trial to watch Prime Video movies and more.
Prime Video provides an extensive array of exclusive TV series, movies and other must-watch programs, and you can add Prime Channels such as Paramount+, Max, Starz and Showtime, BET+ and AMC+.
Amazon Prime costs $14.99 per month after the free trial (students and EBT/SNAP recipients can join for 50% off). Prime members get access to Prime Video, Prime Music, Prime Gaming and Prime Reading, in addition to free same-day, one-day or two-day delivery and exclusive discounts.
Besides It Ends With Us, Prime Video features exclusives like Marlon Wayans: Good Grief, Prime Video features exclusives like The Idea of You, Fallout, Them 2, Space Cadet, Invincible, Road House, Reacher, Mr. & Mrs. Smith, Citadel, Daisy Jones & The Six, The Marvelous Mrs. Maisel, Swarm, Harlem, The Boys, Tom Clancy’s Jack Ryan, Fleabag, The Summer I Turned Pretty, The Wheel of Time and The Legend of Vox Machina.