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The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube"> The vertical video takeover is hereThis is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators. All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.David PierceCloseDavid PiercePosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by David PierceColumnCloseColumnPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ColumnCreatorsCloseCreatorsPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All CreatorsFacebookCloseFacebookPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All FacebookInstagramCloseInstagramPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All InstagramMetaCloseMetaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All MetaSocial MediaCloseSocial MediaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Social MediaStreamingCloseStreamingPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All StreamingTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TechThe StepbackCloseThe StepbackPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All The StepbackTikTokCloseTikTokPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TikTokYouTubeCloseYouTubePosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All YouTube#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube
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The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube">The vertical video takeover is here

This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube

This is The Stepback, a weekly newsletter breaking down one essential story from the tech…

The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on video games and physical media, follow Jay Peters. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

As a kid, I relished trips to Best Buy, GameStop, and the nearby mall so that I could browse video games. I loved sifting through games and chatting with my friends at the store about upcoming releases. On the lucky days I actually got a new game from the store, I treasured reading through every page of the manual on the drive home. Over the years, I built up a collection of games that I was proud of.

That was a long time ago. Shortly after college, I sold my collection of older games and hardware because I wasn’t using them and wanted the money for other things. (Probably weekends out.) Starting with the Nintendo Switch in 2017, I started buying games digitally because it was easier to just download stuff, and I wouldn’t have to accumulate physical game cases. Now, I don’t own any physical games: My Switch, PlayStation, Xbox, and Steam libraries are all digital.

I’m not the only player who has moved to mostly digital games. Digital libraries are increasingly convenient, especially as console makers have made efforts to keep backwards compatibility across generations. Some players can’t play physical games at all, as PlayStation and Xbox launched the PS5 and Xbox Series consoles with all-digital console options that were cheaper than the versions with disc drives. On PC, digital libraries through platforms like Steam have been the reality for quite some time. Capcom, one of the biggest publishers around, reported that an astounding 93 percent of its game sales were for digital copies in its last fiscal year — a figure that it expects will rise to 95.4 percent over the fiscal year. Many of the most popular games are only available digitally, like Roblox and Fortnite.

For better or worse, video game players overwhelmingly buy and play digital games. But in the span of a week, two industry giants put nails in the coffin of physical games — or perhaps even poured concrete into the grave.

On June 24th, Rockstar Games finally put a price tag on Grand Theft Auto VI ahead of its scheduled November 19th release on PS5 and Xbox Series X / S: $79.99 for the base edition and $99.99 for the Ultimate Edition. The prices themselves weren’t too unexpected, as even Nintendo has dabbled with $79.99 games for its biggest titles. But what was more shocking was something buried in Rockstar’s post: The physical version of the game won’t have a disc, instead containing a download code in the box.

The announcement was a worrying sign for physical games. Selling games as codes in a box isn’t a new concept, but GTA VI will be the biggest game to do it so far. Rockstar’s choice could push more publishers to do the same for their future titles. By making the game only available on digital storefronts, players can’t easily share it with a friend or sell the game when they’re done with it.

It’s also becoming increasingly clear you can’t rely on digital storefronts. Titles can get pulled for things like licensing or the store closing down. This may not be a problem for GTA VI, as Rockstar will almost certainly make sure the game is easily available on many digital platforms for the foreseeable future, especially if it wants to give the game the same kind of legs as the 13-year-old GTA V. But with digital storefronts, you also have to hope that you aren’t locked out of your account, even by mistake, and lose access to your games. (In 2023, some PlayStation users were unexpectedly banned through no fault of their own, though Sony eventually restored access to their accounts.)

Speaking of PlayStation, just days after Rockstar’s news, Sony dropped an even bigger bomb: It announced that, starting January 2028, it would not make physical discs for any new PlayStation games.

The decision led to widespread criticism online. Sony and PlayStation got yelled at everywhere online, as Kotaku reported, and the PlayStation account didn’t make a new tweet until six days after its announcement about dropping discs. The comments section of Sony’s famous 2013 PS4 game sharing ad where one person just hands a disc to another — an ad made after Xbox announced restrictive DRM plans for the Xbox One — is filled with new comments taking jabs at Sony. Heck, Sony itself showed why killing discs is a terrible idea by, on the same day as the disc news, saying that it would be closing the digital stores for the PS3 and the PS Vita.

Sony’s announcement also drew criticism from retailers and games preservationists. “This is unfortunate news for those who still prefer buying games on physical media, and is certainly a significant hit to consumer rights, the resale market, and game creators whose businesses rely on the physical market,” said Frank Cifaldi, executive director of the Video Game History Foundation.

Sony’s own statement was clear as to why it’s making the change. “This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs,” Sony said in its announcement. “This transition will enable us to align more closely with how most of our community prefers to access and play games today.” The company’s numbers prove it, too: In the fourth quarter of its 2025 fiscal year, Sony reported that the “Full game software digital download ratio” of games on PS4 and PS5 was 85 percent.

We have to see if Grand Theft Auto VI actually releases on November 19th and if it will ever come out on disc. Despite two major delays, it seems likely the game will at least launch as planned, especially because Rockstar gave the game a price and is pushing preorders.

We’ll also have to see what Microsoft and Nintendo might do. Xbox hasn’t announced what it’s thinking about for discs for Project Helix, its next generation console, but The Verge’s Tom Warren reports that Xbox will “likely soon” stop making physical discs for Xbox games. However, Warren reports that the company is testing a feature that would let you digitize your physical game collection.

Nintendo will probably stick with physical games for a while. According to its last fiscal year report, digital makes up 54.6 percent of game sales, so physical is still a big part of its business. The Switch 2 is also only a year old, and it seems extremely unlikely that Nintendo would stop making physical games for hardware it will be supporting for a long time to come. However, with the Switch 2, Nintendo gives developers the option to sell game-key cards, which are physical carts you can borrow and resell but don’t actually have a game’s data on them. Instead, they serve as keys to let you download a game to your system.

Game stores and preservationists also have to adjust to the fact that physical games are going to be harder to come by. Cifaldi noted that museums and archives have already been preparing for this kind of future “with the expectation that putting discs on a shelf isn’t going to be a long-term solution for preserving new games.” But he called on trade groups to offer solutions to legally preserve digital content for research — efforts that the Entertainment Software Association has previously opposed. “The industry needs to meaningfully come to the table on this issue, because asking museums to download a copy of Grand Theft Auto VI and hope it’ll run in 50 years is not a preservation solution,” Cifaldi says.

Sony now has to navigate an awkward period where it’s launching new games but dealing with pushback from players wanting physical discs. While Sony has been subject to severe blowback after its announcement, it seems unlikely it will reverse course. It’s already repurposing its last PlayStation disc-making factory, after all.

  • The PS5 Pro, Sony’s top-end PlayStation, does not come with a disc drive; that costs an additional $79. Following a recent price hike that spiked the PS5 Pro’s cost to $899.99, that means a PS5 Pro with a disc drive costs nearly $1,000.
  • PlayStation’s own studios are now in the awkward spot of having to confirm that physical versions will be on disc, as Insomniac has for September’s Marvel’s Wolverine and Santa Monica Studio did for God of War Laufey. That Laufey confirmation also signals that the game, which hadn’t been given a release window, will launch before January 2028.
  • For music, physical media sales — including CDs — are reportedly on the rise.
  • Comedian Trevor Noah weighed in on PlayStation’s news, saying that “for a lot of gamers physical discs are the only way they could afford to play games because they could get them secondhand. You can also give games to your younger siblings, which is a great way to introduce them to the games you were playing.”
  • In a post titled “Sony Nerfs Videogame Ownership,” the Electronic Frontier Foundation points out that “Unlike other digital media like film and TV, video games require a ton of storage. Access to high speed internet is still abysmal in the US, making the high-speeds needed for digital game downloads a luxury some of us may take for granted.”
  • A day after the GTA VI news, Circana analyst Mat Piscatella posted a chart that neatly sums up what’s going on: sales of physical games peaked long ago, back in 2009.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#future #physical #games #greatColumn,Gaming,The Stepback"> The future of physical games is not looking greatThis is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on video games and physical media, follow Jay Peters. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.As a kid, I relished trips to Best Buy, GameStop, and the nearby mall so that I could browse video games. I loved sifting through games and chatting with my friends at the store about upcoming releases. On the lucky days I actually got a new game from the store, I treasured reading through every page of the manual on the drive home. Over the years, I built up a collection of games that I was proud of.That was a long time ago. Shortly after college, I sold my collection of older games and hardware because I wasn’t using them and wanted the money for other things. (Probably weekends out.) Starting with the Nintendo Switch in 2017, I started buying games digitally because it was easier to just download stuff, and I wouldn’t have to accumulate physical game cases. Now, I don’t own any physical games: My Switch, PlayStation, Xbox, and Steam libraries are all digital.I’m not the only player who has moved to mostly digital games. Digital libraries are increasingly convenient, especially as console makers have made efforts to keep backwards compatibility across generations. Some players can’t play physical games at all, as PlayStation and Xbox launched the PS5 and Xbox Series consoles with all-digital console options that were cheaper than the versions with disc drives. On PC, digital libraries through platforms like Steam have been the reality for quite some time. Capcom, one of the biggest publishers around, reported that an astounding 93 percent of its game sales were for digital copies in its last fiscal year — a figure that it expects will rise to 95.4 percent over the fiscal year. Many of the most popular games are only available digitally, like Roblox and Fortnite.For better or worse, video game players overwhelmingly buy and play digital games. But in the span of a week, two industry giants put nails in the coffin of physical games — or perhaps even poured concrete into the grave.On June 24th, Rockstar Games finally put a price tag on Grand Theft Auto VI ahead of its scheduled November 19th release on PS5 and Xbox Series X / S: .99 for the base edition and .99 for the Ultimate Edition. The prices themselves weren’t too unexpected, as even Nintendo has dabbled with .99 games for its biggest titles. But what was more shocking was something buried in Rockstar’s post: The physical version of the game won’t have a disc, instead containing a download code in the box.The announcement was a worrying sign for physical games. Selling games as codes in a box isn’t a new concept, but GTA VI will be the biggest game to do it so far. Rockstar’s choice could push more publishers to do the same for their future titles. By making the game only available on digital storefronts, players can’t easily share it with a friend or sell the game when they’re done with it.It’s also becoming increasingly clear you can’t rely on digital storefronts. Titles can get pulled for things like licensing or the store closing down. This may not be a problem for GTA VI, as Rockstar will almost certainly make sure the game is easily available on many digital platforms for the foreseeable future, especially if it wants to give the game the same kind of legs as the 13-year-old GTA V. But with digital storefronts, you also have to hope that you aren’t locked out of your account, even by mistake, and lose access to your games. (In 2023, some PlayStation users were unexpectedly banned through no fault of their own, though Sony eventually restored access to their accounts.)Speaking of PlayStation, just days after Rockstar’s news, Sony dropped an even bigger bomb: It announced that, starting January 2028, it would not make physical discs for any new PlayStation games.The decision led to widespread criticism online. Sony and PlayStation got yelled at everywhere online, as Kotaku reported, and the PlayStation account didn’t make a new tweet until six days after its announcement about dropping discs. The comments section of Sony’s famous 2013 PS4 game sharing ad where one person just hands a disc to another — an ad made after Xbox announced restrictive DRM plans for the Xbox One — is filled with new comments taking jabs at Sony. Heck, Sony itself showed why killing discs is a terrible idea by, on the same day as the disc news, saying that it would be closing the digital stores for the PS3 and the PS Vita.Sony’s announcement also drew criticism from retailers and games preservationists. “This is unfortunate news for those who still prefer buying games on physical media, and is certainly a significant hit to consumer rights, the resale market, and game creators whose businesses rely on the physical market,” said Frank Cifaldi, executive director of the Video Game History Foundation.Sony’s own statement was clear as to why it’s making the change. “This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs,” Sony said in its announcement. “This transition will enable us to align more closely with how most of our community prefers to access and play games today.” The company’s numbers prove it, too: In the fourth quarter of its 2025 fiscal year, Sony reported that the “Full game software digital download ratio” of games on PS4 and PS5 was 85 percent.We have to see if Grand Theft Auto VI actually releases on November 19th and if it will ever come out on disc. Despite two major delays, it seems likely the game will at least launch as planned, especially because Rockstar gave the game a price and is pushing preorders.We’ll also have to see what Microsoft and Nintendo might do. Xbox hasn’t announced what it’s thinking about for discs for Project Helix, its next generation console, but The Verge’s Tom Warren reports that Xbox will “likely soon” stop making physical discs for Xbox games. However, Warren reports that the company is testing a feature that would let you digitize your physical game collection.Nintendo will probably stick with physical games for a while. According to its last fiscal year report, digital makes up 54.6 percent of game sales, so physical is still a big part of its business. The Switch 2 is also only a year old, and it seems extremely unlikely that Nintendo would stop making physical games for hardware it will be supporting for a long time to come. However, with the Switch 2, Nintendo gives developers the option to sell game-key cards, which are physical carts you can borrow and resell but don’t actually have a game’s data on them. Instead, they serve as keys to let you download a game to your system.Game stores and preservationists also have to adjust to the fact that physical games are going to be harder to come by. Cifaldi noted that museums and archives have already been preparing for this kind of future “with the expectation that putting discs on a shelf isn’t going to be a long-term solution for preserving new games.” But he called on trade groups to offer solutions to legally preserve digital content for research — efforts that the Entertainment Software Association has previously opposed. “The industry needs to meaningfully come to the table on this issue, because asking museums to download a copy of Grand Theft Auto VI and hope it’ll run in 50 years is not a preservation solution,” Cifaldi says.Sony now has to navigate an awkward period where it’s launching new games but dealing with pushback from players wanting physical discs. While Sony has been subject to severe blowback after its announcement, it seems unlikely it will reverse course. It’s already repurposing its last PlayStation disc-making factory, after all.The PS5 Pro, Sony’s top-end PlayStation, does not come with a disc drive; that costs an additional . Following a recent price hike that spiked the PS5 Pro’s cost to 9.99, that means a PS5 Pro with a disc drive costs nearly ,000.PlayStation’s own studios are now in the awkward spot of having to confirm that physical versions will be on disc, as Insomniac has for September’s Marvel’s Wolverine and Santa Monica Studio did for God of War Laufey. That Laufey confirmation also signals that the game, which hadn’t been given a release window, will launch before January 2028.For music, physical media sales — including CDs — are reportedly on the rise.Comedian Trevor Noah weighed in on PlayStation’s news, saying that “for a lot of gamers physical discs are the only way they could afford to play games because they could get them secondhand. You can also give games to your younger siblings, which is a great way to introduce them to the games you were playing.”In a post titled “Sony Nerfs Videogame Ownership,” the Electronic Frontier Foundation points out that “Unlike other digital media like film and TV, video games require a ton of storage. Access to high speed internet is still abysmal in the US, making the high-speeds needed for digital game downloads a luxury some of us may take for granted.”A day after the GTA VI news, Circana analyst Mat Piscatella posted a chart that neatly sums up what’s going on: sales of physical games peaked long ago, back in 2009.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.Jay PetersCloseJay PetersPosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by Jay PetersColumnCloseColumnPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ColumnGamingCloseGamingPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All GamingThe StepbackCloseThe StepbackPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All The Stepback#future #physical #games #greatColumn,Gaming,The Stepback
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The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on video games and physical media, follow Jay Peters. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

As a kid, I relished trips to Best Buy, GameStop, and the nearby mall so that I could browse video games. I loved sifting through games and chatting with my friends at the store about upcoming releases. On the lucky days I actually got a new game from the store, I treasured reading through every page of the manual on the drive home. Over the years, I built up a collection of games that I was proud of.

That was a long time ago. Shortly after college, I sold my collection of older games and hardware because I wasn’t using them and wanted the money for other things. (Probably weekends out.) Starting with the Nintendo Switch in 2017, I started buying games digitally because it was easier to just download stuff, and I wouldn’t have to accumulate physical game cases. Now, I don’t own any physical games: My Switch, PlayStation, Xbox, and Steam libraries are all digital.

I’m not the only player who has moved to mostly digital games. Digital libraries are increasingly convenient, especially as console makers have made efforts to keep backwards compatibility across generations. Some players can’t play physical games at all, as PlayStation and Xbox launched the PS5 and Xbox Series consoles with all-digital console options that were cheaper than the versions with disc drives. On PC, digital libraries through platforms like Steam have been the reality for quite some time. Capcom, one of the biggest publishers around, reported that an astounding 93 percent of its game sales were for digital copies in its last fiscal year — a figure that it expects will rise to 95.4 percent over the fiscal year. Many of the most popular games are only available digitally, like Roblox and Fortnite.

For better or worse, video game players overwhelmingly buy and play digital games. But in the span of a week, two industry giants put nails in the coffin of physical games — or perhaps even poured concrete into the grave.

On June 24th, Rockstar Games finally put a price tag on Grand Theft Auto VI ahead of its scheduled November 19th release on PS5 and Xbox Series X / S: $79.99 for the base edition and $99.99 for the Ultimate Edition. The prices themselves weren’t too unexpected, as even Nintendo has dabbled with $79.99 games for its biggest titles. But what was more shocking was something buried in Rockstar’s post: The physical version of the game won’t have a disc, instead containing a download code in the box.

The announcement was a worrying sign for physical games. Selling games as codes in a box isn’t a new concept, but GTA VI will be the biggest game to do it so far. Rockstar’s choice could push more publishers to do the same for their future titles. By making the game only available on digital storefronts, players can’t easily share it with a friend or sell the game when they’re done with it.

It’s also becoming increasingly clear you can’t rely on digital storefronts. Titles can get pulled for things like licensing or the store closing down. This may not be a problem for GTA VI, as Rockstar will almost certainly make sure the game is easily available on many digital platforms for the foreseeable future, especially if it wants to give the game the same kind of legs as the 13-year-old GTA V. But with digital storefronts, you also have to hope that you aren’t locked out of your account, even by mistake, and lose access to your games. (In 2023, some PlayStation users were unexpectedly banned through no fault of their own, though Sony eventually restored access to their accounts.)

Speaking of PlayStation, just days after Rockstar’s news, Sony dropped an even bigger bomb: It announced that, starting January 2028, it would not make physical discs for any new PlayStation games.

The decision led to widespread criticism online. Sony and PlayStation got yelled at everywhere online, as Kotaku reported, and the PlayStation account didn’t make a new tweet until six days after its announcement about dropping discs. The comments section of Sony’s famous 2013 PS4 game sharing ad where one person just hands a disc to another — an ad made after Xbox announced restrictive DRM plans for the Xbox One — is filled with new comments taking jabs at Sony. Heck, Sony itself showed why killing discs is a terrible idea by, on the same day as the disc news, saying that it would be closing the digital stores for the PS3 and the PS Vita.

Sony’s announcement also drew criticism from retailers and games preservationists. “This is unfortunate news for those who still prefer buying games on physical media, and is certainly a significant hit to consumer rights, the resale market, and game creators whose businesses rely on the physical market,” said Frank Cifaldi, executive director of the Video Game History Foundation.

Sony’s own statement was clear as to why it’s making the change. “This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs,” Sony said in its announcement. “This transition will enable us to align more closely with how most of our community prefers to access and play games today.” The company’s numbers prove it, too: In the fourth quarter of its 2025 fiscal year, Sony reported that the “Full game software digital download ratio” of games on PS4 and PS5 was 85 percent.

We have to see if Grand Theft Auto VI actually releases on November 19th and if it will ever come out on disc. Despite two major delays, it seems likely the game will at least launch as planned, especially because Rockstar gave the game a price and is pushing preorders.

We’ll also have to see what Microsoft and Nintendo might do. Xbox hasn’t announced what it’s thinking about for discs for Project Helix, its next generation console, but The Verge’s Tom Warren reports that Xbox will “likely soon” stop making physical discs for Xbox games. However, Warren reports that the company is testing a feature that would let you digitize your physical game collection.

Nintendo will probably stick with physical games for a while. According to its last fiscal year report, digital makes up 54.6 percent of game sales, so physical is still a big part of its business. The Switch 2 is also only a year old, and it seems extremely unlikely that Nintendo would stop making physical games for hardware it will be supporting for a long time to come. However, with the Switch 2, Nintendo gives developers the option to sell game-key cards, which are physical carts you can borrow and resell but don’t actually have a game’s data on them. Instead, they serve as keys to let you download a game to your system.

Game stores and preservationists also have to adjust to the fact that physical games are going to be harder to come by. Cifaldi noted that museums and archives have already been preparing for this kind of future “with the expectation that putting discs on a shelf isn’t going to be a long-term solution for preserving new games.” But he called on trade groups to offer solutions to legally preserve digital content for research — efforts that the Entertainment Software Association has previously opposed. “The industry needs to meaningfully come to the table on this issue, because asking museums to download a copy of Grand Theft Auto VI and hope it’ll run in 50 years is not a preservation solution,” Cifaldi says.

Sony now has to navigate an awkward period where it’s launching new games but dealing with pushback from players wanting physical discs. While Sony has been subject to severe blowback after its announcement, it seems unlikely it will reverse course. It’s already repurposing its last PlayStation disc-making factory, after all.

  • The PS5 Pro, Sony’s top-end PlayStation, does not come with a disc drive; that costs an additional $79. Following a recent price hike that spiked the PS5 Pro’s cost to $899.99, that means a PS5 Pro with a disc drive costs nearly $1,000.
  • PlayStation’s own studios are now in the awkward spot of having to confirm that physical versions will be on disc, as Insomniac has for September’s Marvel’s Wolverine and Santa Monica Studio did for God of War Laufey. That Laufey confirmation also signals that the game, which hadn’t been given a release window, will launch before January 2028.
  • For music, physical media sales — including CDs — are reportedly on the rise.
  • Comedian Trevor Noah weighed in on PlayStation’s news, saying that “for a lot of gamers physical discs are the only way they could afford to play games because they could get them secondhand. You can also give games to your younger siblings, which is a great way to introduce them to the games you were playing.”
  • In a post titled “Sony Nerfs Videogame Ownership,” the Electronic Frontier Foundation points out that “Unlike other digital media like film and TV, video games require a ton of storage. Access to high speed internet is still abysmal in the US, making the high-speeds needed for digital game downloads a luxury some of us may take for granted.”
  • A day after the GTA VI news, Circana analyst Mat Piscatella posted a chart that neatly sums up what’s going on: sales of physical games peaked long ago, back in 2009.
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#future #physical #games #greatColumn,Gaming,The Stepback">The future of physical games is not looking great

This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on video games and physical media, follow Jay Peters. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

As a kid, I relished trips to Best Buy, GameStop, and the nearby mall so that I could browse video games. I loved sifting through games and chatting with my friends at the store about upcoming releases. On the lucky days I actually got a new game from the store, I treasured reading through every page of the manual on the drive home. Over the years, I built up a collection of games that I was proud of.

That was a long time ago. Shortly after college, I sold my collection of older games and hardware because I wasn’t using them and wanted the money for other things. (Probably weekends out.) Starting with the Nintendo Switch in 2017, I started buying games digitally because it was easier to just download stuff, and I wouldn’t have to accumulate physical game cases. Now, I don’t own any physical games: My Switch, PlayStation, Xbox, and Steam libraries are all digital.

I’m not the only player who has moved to mostly digital games. Digital libraries are increasingly convenient, especially as console makers have made efforts to keep backwards compatibility across generations. Some players can’t play physical games at all, as PlayStation and Xbox launched the PS5 and Xbox Series consoles with all-digital console options that were cheaper than the versions with disc drives. On PC, digital libraries through platforms like Steam have been the reality for quite some time. Capcom, one of the biggest publishers around, reported that an astounding 93 percent of its game sales were for digital copies in its last fiscal year — a figure that it expects will rise to 95.4 percent over the fiscal year. Many of the most popular games are only available digitally, like Roblox and Fortnite.

For better or worse, video game players overwhelmingly buy and play digital games. But in the span of a week, two industry giants put nails in the coffin of physical games — or perhaps even poured concrete into the grave.

On June 24th, Rockstar Games finally put a price tag on Grand Theft Auto VI ahead of its scheduled November 19th release on PS5 and Xbox Series X / S: $79.99 for the base edition and $99.99 for the Ultimate Edition. The prices themselves weren’t too unexpected, as even Nintendo has dabbled with $79.99 games for its biggest titles. But what was more shocking was something buried in Rockstar’s post: The physical version of the game won’t have a disc, instead containing a download code in the box.

The announcement was a worrying sign for physical games. Selling games as codes in a box isn’t a new concept, but GTA VI will be the biggest game to do it so far. Rockstar’s choice could push more publishers to do the same for their future titles. By making the game only available on digital storefronts, players can’t easily share it with a friend or sell the game when they’re done with it.

It’s also becoming increasingly clear you can’t rely on digital storefronts. Titles can get pulled for things like licensing or the store closing down. This may not be a problem for GTA VI, as Rockstar will almost certainly make sure the game is easily available on many digital platforms for the foreseeable future, especially if it wants to give the game the same kind of legs as the 13-year-old GTA V. But with digital storefronts, you also have to hope that you aren’t locked out of your account, even by mistake, and lose access to your games. (In 2023, some PlayStation users were unexpectedly banned through no fault of their own, though Sony eventually restored access to their accounts.)

Speaking of PlayStation, just days after Rockstar’s news, Sony dropped an even bigger bomb: It announced that, starting January 2028, it would not make physical discs for any new PlayStation games.

The decision led to widespread criticism online. Sony and PlayStation got yelled at everywhere online, as Kotaku reported, and the PlayStation account didn’t make a new tweet until six days after its announcement about dropping discs. The comments section of Sony’s famous 2013 PS4 game sharing ad where one person just hands a disc to another — an ad made after Xbox announced restrictive DRM plans for the Xbox One — is filled with new comments taking jabs at Sony. Heck, Sony itself showed why killing discs is a terrible idea by, on the same day as the disc news, saying that it would be closing the digital stores for the PS3 and the PS Vita.

Sony’s announcement also drew criticism from retailers and games preservationists. “This is unfortunate news for those who still prefer buying games on physical media, and is certainly a significant hit to consumer rights, the resale market, and game creators whose businesses rely on the physical market,” said Frank Cifaldi, executive director of the Video Game History Foundation.

Sony’s own statement was clear as to why it’s making the change. “This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs,” Sony said in its announcement. “This transition will enable us to align more closely with how most of our community prefers to access and play games today.” The company’s numbers prove it, too: In the fourth quarter of its 2025 fiscal year, Sony reported that the “Full game software digital download ratio” of games on PS4 and PS5 was 85 percent.

We have to see if Grand Theft Auto VI actually releases on November 19th and if it will ever come out on disc. Despite two major delays, it seems likely the game will at least launch as planned, especially because Rockstar gave the game a price and is pushing preorders.

We’ll also have to see what Microsoft and Nintendo might do. Xbox hasn’t announced what it’s thinking about for discs for Project Helix, its next generation console, but The Verge’s Tom Warren reports that Xbox will “likely soon” stop making physical discs for Xbox games. However, Warren reports that the company is testing a feature that would let you digitize your physical game collection.

Nintendo will probably stick with physical games for a while. According to its last fiscal year report, digital makes up 54.6 percent of game sales, so physical is still a big part of its business. The Switch 2 is also only a year old, and it seems extremely unlikely that Nintendo would stop making physical games for hardware it will be supporting for a long time to come. However, with the Switch 2, Nintendo gives developers the option to sell game-key cards, which are physical carts you can borrow and resell but don’t actually have a game’s data on them. Instead, they serve as keys to let you download a game to your system.

Game stores and preservationists also have to adjust to the fact that physical games are going to be harder to come by. Cifaldi noted that museums and archives have already been preparing for this kind of future “with the expectation that putting discs on a shelf isn’t going to be a long-term solution for preserving new games.” But he called on trade groups to offer solutions to legally preserve digital content for research — efforts that the Entertainment Software Association has previously opposed. “The industry needs to meaningfully come to the table on this issue, because asking museums to download a copy of Grand Theft Auto VI and hope it’ll run in 50 years is not a preservation solution,” Cifaldi says.

Sony now has to navigate an awkward period where it’s launching new games but dealing with pushback from players wanting physical discs. While Sony has been subject to severe blowback after its announcement, it seems unlikely it will reverse course. It’s already repurposing its last PlayStation disc-making factory, after all.

  • The PS5 Pro, Sony’s top-end PlayStation, does not come with a disc drive; that costs an additional $79. Following a recent price hike that spiked the PS5 Pro’s cost to $899.99, that means a PS5 Pro with a disc drive costs nearly $1,000.
  • PlayStation’s own studios are now in the awkward spot of having to confirm that physical versions will be on disc, as Insomniac has for September’s Marvel’s Wolverine and Santa Monica Studio did for God of War Laufey. That Laufey confirmation also signals that the game, which hadn’t been given a release window, will launch before January 2028.
  • For music, physical media sales — including CDs — are reportedly on the rise.
  • Comedian Trevor Noah weighed in on PlayStation’s news, saying that “for a lot of gamers physical discs are the only way they could afford to play games because they could get them secondhand. You can also give games to your younger siblings, which is a great way to introduce them to the games you were playing.”
  • In a post titled “Sony Nerfs Videogame Ownership,” the Electronic Frontier Foundation points out that “Unlike other digital media like film and TV, video games require a ton of storage. Access to high speed internet is still abysmal in the US, making the high-speeds needed for digital game downloads a luxury some of us may take for granted.”
  • A day after the GTA VI news, Circana analyst Mat Piscatella posted a chart that neatly sums up what’s going on: sales of physical games peaked long ago, back in 2009.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#future #physical #games #greatColumn,Gaming,The Stepback

This is The Stepback, a weekly newsletter breaking down one essential story from the tech…