Top African entertainment tech startups reshaping fan engagement

Consequently, many Afrobeats and Amapiano stars use it as a core channel for new releases and fan engagement. Moreover, it comes bundled on millions of Transsion smartphones (Tecno, Infinix, Itel), giving it strong distribution across the continent. Ultimately, Mdundo shows how entertainment-tech can scale by respecting on-the-ground realities, especially in East Africa. Moreover, it focuses on low-data usage and easy downloads, which fit users who rely on affordable Android phones and prepaid data.

• Regional partnerships are being signed more frequently.
• With an estimated 60 million people engaging with some form of digital gaming or online entertainment daily, the market's scale reflects a population that treats the phone as its primary leisure device.
• This requires trusted first-party data, clear audience definitions, effective activation, transparent media spending, and measurement frameworks that extend beyond impressions and reach
• Additionally, irokoTV’s archives include classics and popular hits, giving fans deep access to Nollywood history.
• Consequently, fans get a single, trusted interface for different kinds of tickets, which improves adoption.
• Locally relevant content and effective discovery can also help services differentiate as consumers gain access to more viewing options.
• Africa's digital economy is expanding quickly as more people gain access to smartphones, mobile internet and digital payment services.
• Its gaming market alone reached $153 million and is projected to keep expanding at 6.9% annually through 2029.
• In South Africa, connected television is expected to play a more prominent role as smart-TV penetration and streaming adoption increase.
• Moreover, as it grows, the same technology stack can power ticketing for events and experiences, especially where mobility and entertainment overlap.
• Kenya's broader entertainment and media sector grew 7.1% in 2024, outperforming global averages.
• Connectivity is expanding digital audiences, advertising is becoming more sophisticated, and consumers are engaging with content across an increasingly diverse mix of platforms, formats, and experiences.
• Fixed broadband is growing faster than mobile services, expanding the audience for streaming, gaming, connected television, and other data-intensive experiences.
• People have moved on from the days when TV largely decided what the evening looked like.

Moreover, a new wave of African entertainment tech startups is transforming how you stream music, buy tickets, and connect with your favourite stars. Discover 10 standout platforms powering music, film, live events and creator monetisation, and see how they are reshaping Africa’s entertainment future. Publishers named above each report are responsible for their own content, which AllAfrica does not have the legal right to edit or correct. Distributed by AllAfrica Global Media (allAfrica.com).

Consequently, emerging musicians gain access to marketing tools and analytics that help them grow their fan bases. Specifically, the following ten African entertainment tech startups stand out for their impact on streaming, ticketing, and fan engagement. On the other hand, creators want fairer monetisation and tools that help them move beyond traditional labels and studios. However, local innovators now build products tailored to African payment systems, languages, and fan behaviour.

Where the leisure spending is going

Media businesses and creators will need to build assets they can control, including intellectual property, trusted brands, direct customer relationships, first-party data, and multiple routes to market. Video is expanding across screens, while mobile is bringing gaming within reach of more consumers. South Africa’s scale is supported by an advanced communications infrastructure, a sophisticated advertising ecosystem, and high levels of digital adoption. In addition, remember that every stream, ticket, and subscription helps build a stronger creative ecosystem for the continent.

These channels can extend engagement before, during, and after an event, connecting physical participation with a wider digital audience relationship. Digital engagement is strengthening audience discovery, but it is not replacing the demand for collective entertainment. However, rapid streaming growth does not mean the immediate replacement of traditional television.

This wider reach creates questions about jurisdiction, taxation, licensing and consumer protection. Language, payment methods, internet costs and local media habits all influence how people use a platform. The consumers who thrive in this environment are those who approach it deliberately — understanding what they are paying for, how much time they are investing, and what the actual odds and outcomes of their choices are. According to reporting by Reuters, governments across emerging markets are grappling with how to regulate fast-evolving digital services without stifling the innovation and economic activity they generate. This reflects a broader and healthier shift toward informed, calculated engagement with online entertainment — the same analytical mindset that financial literacy advocates have long encouraged consumers to apply to their money.

Successful services study these differences instead of treating Africa as one uniform market. Digital services do not grow in exactly the same way across the continent. A platform that loads slowly may lose users before its content even appears. A large share of consumers rarely use a desktop computer.

Storipod (Pan-African) – Audio, Storytelling and Community

Moreover, four main hubs – Nigeria, South Africa, Kenya, and Ghana – anchor much of the continent’s entertainment-tech innovation. Ultimately, Storipod and similar startups expand the definition of entertainment-tech beyond music and film into everyday storytelling. Furthermore, podcasters and spoken-word artists gain a home that understands their needs and constraints. Therefore, Storipod sits at the intersection of entertainment, education, and community building.

Notably, this brings founders, investors, and artists into the same rooms to shape the future of African entertainment. As a result, startups that solve these needs quickly gain loyal users and regional scale. As a result, you get a clear view of the landscape, plus practical signals to follow if you want to invest, collaborate, or build in this space. Moreover, we focus on platforms for music and film streaming, ticketing, fan engagement, and creator monetisation. Furthermore, global streaming giants still dominate headlines, but they rarely capture the full depth of African creativity. Ultimately, if you care about music, film, live events, and influencer culture, this is the ecosystem you need to watch.

The operators and platforms that understand this, and build accordingly are the ones gaining traction. Africa's digital leisure market is not a single thing. But they are engineering and compliance problems, not fundamental barriers to growth. Africa's digital boom TechFinancials on mobile platform security is not happening in spite of its consumer base, it is being shaped by it.

Perspectives from the Global Entertainment & Media Outlook 2026–2030

Additionally, startup directories such as Startup Map Africa track hundreds of creative and media-related companies across the continent. Additionally, we link to resources and wider coverage so you can explore more across African tech and culture. Africa's role in global digital entertainment will continue to grow as connectivity and payment systems improve. Users can pay for subscriptions, games and other services without a credit card. This example shows why consumers should check where a platform is licensed before creating an account, sharing personal information or making a payment. Consumers can pay for films, music, games, sports coverage and social content through a single mobile device.

Why African Entertainment Tech Startups Matter Right Now

If the platform does not deliver, people leave without a second thought. You can top up a streaming account or buy game credits, or fund a gaming wallet in under a minute without ever leaving the app. It is the same mindset people use across much of South Africa’s digital economy. People have moved on from the days when TV largely decided what the evening looked like. All of that means more people can watch, play, and browse whenever they want, wherever they are.

• Ultimately, platforms like irokoTV prove that African stories can win loyal viewers worldwide.
• Mobile gaming, casual, social, and increasingly competitive, is expanding rapidly across all three major markets, with esports beginning to attract meaningful investment in South Africa and Nigeria.
• Africa's digital boom is not happening in spite of its consumer base, it is being shaped by it.
• Payment fragmentation remains a genuine challenge, M-Pesa dominates East Africa, but MTN Mobile Money, Opay, and Palmpay each serve different markets, meaning platforms that want continental reach need to integrate multiple payment systems.
• Users should check whether a platform publishes clear terms, provides contact details and explains how personal data is handled.
• Additionally, this kind of infrastructure matters deeply for musicians, filmmakers, and content creators seeking transparency.
• Mobile money platforms have been crucial enablers here, allowing users to make small digital payments without traditional bank accounts.
• In addition, Mdundo works with local artists and DJs to build region-specific playlists and catalogues.
• Players who grasp the underlying odds tend to make better decisions, and a new category of analytical tools has emerged to support them.
• Furthermore, uduX works closely with artists and labels to improve revenue sharing and visibility.
• Moreover, it uses digital tools and, in some cases, blockchain-inspired approaches to track creative outputs and transactions.
• Additionally, Ticketpro integrates with online and retail channels so fans can buy in ways that suit them best.
• In addition, investors and partners gain confidence when they see clean, verifiable data.
• By 2030, connectivity is forecast to account for approximately 60% of total E&M revenue in South Africa, 75% in Kenya, and 66% in Nigeria.

Showmax (South Africa, Pan-African) – Homegrown Film and Series Streaming

Affordability remains one of the most important factors influencing digital media adoption across Africa. Advertising becomes more accountable when organisations can connect media exposure with audience behaviour and commercial outcomes. The value of AI will not be determined by how much content it produces, but by whether that content becomes more relevant, discoverable, and commercially valuable. These assets create greater control over how audiences are reached, understood, and monetised. The next phase of E&M growth will increasingly be shaped by who owns, understands, and sustains the audience relationship. Audio can draw audiences into wider entertainment ecosystems encompassing live events, sponsorship, creator communities, social engagement, and commerce.

How can organisations turn audience growth into long-term value? Increasingly, competitive advantage comes from understanding the audience relationship. The pace of change varies by market, requiring businesses to manage both established and emerging channels simultaneously.

• Local films accounted for almost half of Nigeria’s box-office revenue in 2025.
• Consequently, fans in Tanzania, Nigeria, or Uganda see content that feels local, not imported.
• Ninthly, CREATIVE CREDITAI, listed in the African startup directory, builds an AI-driven financial management and credit assessment platform for creatives.
• In addition, Ghanaian artists and filmmakers reach diasporic audiences through platforms like Showmax and Boomplay, extending their impact beyond local TV.
• Digital platforms can reach users across national borders with less friction than traditional businesses.
• Therefore, use it as a starting point to discover more players, trends, and opportunities.
• Moreover, four main hubs – Nigeria, South Africa, Kenya, and Ghana – anchor much of the continent’s entertainment-tech innovation.
• That model maps almost exactly onto what African consumers are now demanding from digital leisure platforms.
• Additionally, this is not a complete list of every strong company, but it captures key leaders and signals across the continent.
• Operators in Nigeria, Kenya, Ghana, and Egypt often watch the South African market because it can signal wider regional trends.
• For consumers, this evolving regulatory landscape means a gradual increase in protections — clearer terms, better transparency, and stronger safeguards against predatory practices.
• In addition, investors and partners gain confidence when they see clean, verifiable data.
• European users may rely on privacy rules, refund rights and sector specific licensing.

uduX (Nigeria) – Localised Music Streaming for African Audiences

Additionally, they show that creators can gain more control over their careers by using tools designed for local realities. In addition, Ghanaian artists and filmmakers reach diasporic audiences through platforms like Showmax and Boomplay, extending their impact beyond local TV. Additionally, each market combines strong creative industries with growing tech talent and startup support networks. Additionally, this kind of infrastructure matters deeply for musicians, filmmakers, and content creators seeking transparency.

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The growth of digital entertainment carries a financial dimension that consumer advocates increasingly emphasise. Streaming is growing, Kenya's OTT market is projected to nearly double in revenue by 2029, supported by ad-funded tiers that keep costs accessible. In many markets, digital adoption is accelerating while traditional formats continue to attract audiences and advertising investment. Local content can create value through intellectual property, licensing, sponsorship, live experiences, commerce, and distribution across markets. These applications are particularly relevant in markets where linguistic diversity and fragmented audiences can limit content reach.

This requires trusted first-party data, clear audience definitions, effective activation, transparent media spending, and measurement frameworks that extend beyond impressions and reach A sustainable OTT proposition must balance affordability, differentiation, and monetisation. Copyright, licensing, attribution, source verification, misinformation, privacy, bias, and brand safety will require clear accountability and human oversight. The commercial value of shared experiences therefore extends beyond ticket or box-office revenue. South Africa’s music, radio, and podcasts market is also forecast to grow from R8.0bn in 2025 to R10.6bn in 2030.

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In Kenya, you do not need a bank account to pay for your evening's entertainment. Africa Technology, Media and Telecommunications Industry Leader, PwC South Africa Get 12 months of access to data and commentary for segments across 53 countries and territories, and access to dashboards and visualisations, including heat maps and comparisons of GDP and growth rates. Dive into our Global Perspectives report for key findings and insights into the global E&M industry.

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Ultimately, platforms like uduX push Afrobeats, Alte, and other subcultures deeper into everyday digital life. Furthermore, uduX works closely with artists and labels to improve revenue sharing and visibility. Moreover, it offers curated playlists, exclusive releases, and partnerships with telecoms to lower data costs for listeners. Firstly, uduX is a Nigerian music streaming platform that focuses on African catalogues and local user behaviour. Therefore, use it as a starting point to discover more players, trends, and opportunities.

• Specifically, the following ten African entertainment tech startups stand out for their impact on streaming, ticketing, and fan engagement.
• Furthermore, the platform publishes regular reports on listener trends, giving brands and artists insight into changing tastes.
• Kenya’s growth is underpinned by connectivity, digital payments, and online engagement.
• Therefore, Storipod sits at the intersection of entertainment, education, and community building.
• Recent industry analysis has increasingly pointed to fintech innovation and mobile payment adoption as one of the key forces accelerating Africa’s mobile gaming and digital entertainment boom.
• Ultimately, entertainment-tech strengthens influencer culture by treating creators as entrepreneurs, not just talent.
• Ultimately, this data helps them plan tours, releases, and collaborations based on real audience behaviour.
• According to reporting by Reuters, governments across emerging markets are grappling with how to regulate fast-evolving digital services without stifling the innovation and economic activity they generate.
• Furthermore, South African Amapiano producers and DJs rely on streaming data and fan insights to target new cities and audiences.
• Moreover, it uses digital tools and, in some cases, blockchain-inspired approaches to track creative outputs and transactions.
• However, rapid streaming growth does not mean the immediate replacement of traditional television.
• Its gaming market alone reached $153 million and is projected to keep expanding at 6.9% annually through 2029.
• By 2030, connectivity is forecast to account for approximately 60% of total E&M revenue in South Africa, 75% in Kenya, and 66% in Nigeria.
• In addition, they help creators earn more, audiences discover new talent, and brands tap into engaged communities.
• Furthermore, irokoTV’s journey highlights the challenges and rewards of building entertainment-tech from Africa for a global audience.
• In South Africa, connected television is expected to play a more prominent role as smart-TV penetration and streaming adoption increase.
• Publishers named above each report are responsible for their own content, which AllAfrica does not have the legal right to edit or correct.

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Distinctive local content can strengthen audience loyalty, extend engagement across multiple channels, and create new monetisation opportunities beyond a single platform or format. Technology is lowering barriers to content creation, allowing more creators, publishers, podcasters, and independent production companies to participate. Smartphones allow consumers to participate without a console or dedicated gaming computer, while connecting gaming with social interaction, payments, commerce, and wider media consumption. Gaming revenue is forecast to grow faster than the global market in all three countries, reaching US$698m (R12.7bn) in South Africa, US$133m in Kenya, and US$431m in Nigeria by 2030. Pricing, bundling, advertising-supported models, and flexible content propositions will remain central to market development. Average OTT revenue per subscription in 2030 is forecast at US$76 in South Africa, US$54 in Kenya, and US$42 in Nigeria, compared with a global average above US$100.

Ultimately, CREATIVE CREDITAI shows how African innovation can support influencer culture and creator economies directly. Ninthly, CREATIVE CREDITAI, listed in the African startup directory, builds an AI-driven financial management and credit assessment platform for creatives. Ultimately, entertainment-tech is not only about front-end apps; it is also about back-end tools like Shamba Records that protect creative value.

Mdundo (Kenya) – Mobile-First Music for the Mass Market

Regional partnerships are being signed more frequently. It is influencing trends across the continent. For many people, that conversation is part of the real entertainment.

Consequently, it experimented with different pricing models, regional launches, and partnerships to sustain growth. Furthermore, irokoTV’s journey highlights the challenges and rewards of building entertainment-tech from Africa for a global audience. Moreover, it built a global audience for Nigerian films long before most people could access them easily online. Furthermore, Boomplay invests in editorial teams and partnerships to spotlight rising African artists. Furthermore, the platform publishes regular reports on listener trends, giving brands and artists insight into changing tastes. Secondly, Mdundo, based in Kenya and operating across multiple African countries, targets the mass market with simple, mobile-first music access.

Furthermore, organisers get dashboards with sales trends, time-of-day patterns, and demographic breakdowns. Therefore, fans gain confidence that their tickets are valid and that events are well run. Moreover, they digitise the full journey from discovery to purchase, reducing queues and confusion at venues. Secondly, ticketing-focused startups like Ticketpro and BuuPass improve how you attend live shows and experiences.

Additionally, irokoTV’s archives include classics and popular hits, giving fans deep access to Nollywood history. Moreover, Showmax invests in local productions and partnerships, which supports regional film industries and talent. Ultimately, Boomplay’s growth reinforces the idea that African-built or African-focused platforms can compete with global giants on home turf. Additionally, Boomplay focuses on African catalogues, offline listening, and flexible subscription options including mobile money payments. Consequently, fans in Tanzania, Nigeria, or Uganda see content that feels local, not imported.

• Furthermore, local streaming apps integrate with payments such as mobile money and airtime billing.
• Additionally, CREATIVE CREDITAI analyses creator revenue streams and risk, then links users to suitable lenders and products.
• In Africa, Business, Culture, Entertainment, Gaming, South Africa, Technology
• Knowing the numbers, tracking spending, and making deliberate rather than impulsive decisions are skills that transfer directly from informed digital entertainment to sound personal finance.
• South Africa led with $296 million, but Nigeria posted the highest growth rate at 7.4% CAGR, driven almost entirely by mobile access, with more than 80% of its population connecting to the internet via smartphone.
• Consequently, they can price better, plan marketing, and design VIP or group offers that match fan demand.
• OTT grows faster but remains below traditional TV through 20230
• Moreover, they digitise the full journey from discovery to purchase, reducing queues and confusion at venues.
• The Reserve Bank has supported faster payment systems such as PayShap, which have helped a lot.
• Nigeria combines a large population with rapidly expanding digital audiences, advertising investment, and entertainment consumption.
• In addition, brands seeking authentic partnerships can work through organised systems rather than ad-hoc deals.

Digital Entertainment Platforms and Africa's Growing Online Consumer Market

For consumers, this evolving regulatory landscape means a gradual increase in protections — clearer terms, better transparency, and stronger safeguards against predatory practices. Issues around consumer protection, data privacy, and responsible spending are increasingly on the agenda. Studies of digital consumer behaviour consistently show that people underestimate how much they spend on small, frequent digital transactions. Players who grasp the underlying odds tend to make better decisions, and a new category of analytical tools has emerged to support them. Mobile money platforms have been crucial enablers here, allowing users to make small digital payments without traditional bank accounts. Streamers, moderators, designers, support staff, data analysts, and marketing teams all benefit.

• A sustainable OTT proposition must balance affordability, differentiation, and monetisation.
• Additionally, these startups blend culture, community, and code to create fresh digital experiences that match the continent’s creative energy.
• A music app and two streaming services, a short video feed, a gaming account, and a sports subscription on top.
• Africa's role in global digital entertainment will continue to grow as connectivity and payment systems improve.
• Online entertainment spending covers a growing range of activities.
• Therefore, Africa’s entertainment-tech story is not just about apps; it is about power shifting toward the people who make and love the culture.
• Africa's digital economy is expanding quickly as more people gain access to smartphones, mobile internet and digital payment services.
• In addition, Ticketpro’s tools help customise seating, VIP experiences, and group packages that enhance fan engagement.
• Trusted first-party data, effective activation, and credible measurement will become more important as attention fragments across broadcasters, publishers, retailers, streaming platforms, creators, and social media.
• For consumers, this evolving regulatory landscape means a gradual increase in protections — clearer terms, better transparency, and stronger safeguards against predatory practices.
• Consequently, artists and promoters gain clearer insight into attendance trends and fan demographics.
• Language, payment methods, internet costs and local media habits all influence how people use a platform.
• It is the same mindset people use across much of South Africa’s digital economy.
• Connectivity is expanding Africa’s digital audience, while advertising is becoming central to how that audience is monetised.
• Consequently, these tools help emerging stars move from viral clips to sustainable careers with predictable revenue.

Local films accounted for almost half of Nigeria’s box-office revenue in 2025. Nigeria records the strongest growth at 22.8% a year, although cinema remains a relatively small category in absolute terms. OTT grows faster but remains below traditional TV through 20230

Introduction: African Entertainment Tech Startups Are Rewriting the Rules

Platforms that support familiar local payment methods often perform better than those that depend on international cards alone. This does not mean consumers have no protection, though the level of oversight can vary. Similar frameworks are still developing in several African markets. European platforms often appear in international search results even when their services focus on a domestic market. Digital platforms can reach users across national borders with less friction than traditional businesses.

Connectivity is expanding Africa’s digital audience, while advertising is becoming central to how that audience is monetised. Nigeria combines a large population with rapidly expanding digital audiences, advertising investment, and entertainment consumption. Furthermore, as more hubs mature and funding flows into content, creator economies, and fan engagement, new players will join this list.

Therefore, Africa’s entertainment-tech story is not just about apps; it is about power shifting toward the people who make and love the culture. Furthermore, if you enjoyed this deep dive into African entertainment tech startups, you will find plenty more stories on our platform. Consequently, these tools help emerging stars move from viral clips to sustainable careers with predictable revenue. Furthermore, South African Amapiano producers and DJs rely on streaming data and fan insights to target new cities and audiences.

• In addition, investors and partners gain confidence when they see clean, verifiable data.
• The strongest platforms will combine reliable technology with local knowledge, clear pricing and transparent rules.
• If the platform does not deliver, people leave without a second thought.
• The growth of digital entertainment carries a financial dimension that consumer advocates increasingly emphasise.
• Digital engagement is strengthening audience discovery, but it is not replacing the demand for collective entertainment.
• Streaming, social media, short-form video, and audio services increasingly help audiences discover films, artists, events, and cultural experiences.
• Today it pays for streaming subscriptions, gaming top-ups, and online platform access across Kenya, Tanzania, Uganda and beyond.
• Ultimately, Storipod and similar startups expand the definition of entertainment-tech beyond music and film into everyday storytelling.
• Additionally, CREATIVE CREDITAI analyses creator revenue streams and risk, then links users to suitable lenders and products.
• South Africa’s music, radio, and podcasts market is also forecast to grow from R8.0bn in 2025 to R10.6bn in 2030.
• Connectivity is expanding Africa’s digital audience, while advertising is becoming central to how that audience is monetised.
• Tenthly, Storipod appears in lists of emerging African startups to watch and focuses on audio storytelling and podcast-style content.
• Knowing the numbers, tracking spending, and making deliberate rather than impulsive decisions are skills that transfer directly from informed digital entertainment to sound personal finance.
• Fixed broadband is growing faster than mobile services, expanding the audience for streaming, gaming, connected television, and other data-intensive experiences.

Trusted first-party data, effective activation, and credible measurement will become more important as attention fragments across broadcasters, publishers, retailers, streaming platforms, creators, and social media. In South Africa, connected television is expected to play a more prominent role as smart-TV penetration and streaming adoption increase. Growth is shifting towards formats that offer stronger audience insight and clearer links to commercial outcomes.

Consequently, listeners discover African voices in technology, culture, comedy, and lifestyle without relying only on global apps. In addition, brands and platforms gain from a healthier, better-financed creator base that can produce more content. Additionally, CREATIVE CREDITAI analyses creator revenue streams and risk, then links users to suitable lenders and products. Additionally, its work with operators and mobile money shows how digital rails can serve multiple sectors. Additionally, Ticketpro integrates with online and retail channels so fans can buy in ways that suit them best.

A regulated operator such as 711.nl is designed for adult users in the Netherlands and operates within Dutch licensing rules. Visibility in search results is not the same as legal permission to serve local customers. Users need to understand the difference between a platform being accessible and a platform being licensed for their location. Online entertainment spending covers a growing range of activities. But it also demands a degree of digital and financial literacy that was less necessary in an analogue age.

Traditional television is therefore expected to remain the larger video segment in all three markets through 2030. South Africa is experiencing the clearest reallocation of video revenue, with OTT growing while traditional television declines. Video internet advertising is forecast to grow at 18.2% a year in Kenya. Mobile and fixed services remain the largest E&M revenue pool in all three markets.

A Market Finding Its Feet

The phone is often enough, and many people are frequently plugged in. Smartphones have turned living rooms, taxi rides, shop queues, and lunch breaks into places where people often consume entertainment. These days, a night at home with a charged phone, enough data, and a good streaming app is exactly what a lot of people want to do. In Africa, Business, Culture, Entertainment, Gaming, South Africa, Technology

Why do shared experiences retain their value?

Tenthly, Storipod appears in lists of emerging African startups to watch and focuses on audio storytelling and podcast-style content. Moreover, many African artists and influencers struggle to access formal finance because banks do not understand their income patterns. In addition, investors and partners gain confidence when they see clean, verifiable data. Consequently, artists can prove what they are owed and track how often their works are used. Furthermore, by giving creatives clearer records, the platform supports fairer payouts and contract negotiations.

Consequently, from Lagos to Nairobi and Accra to Cape Town, founders are building platforms that put African stories, sounds, and fans at the centre. A new wave of African entertainment tech startups is transforming streaming, ticketing and fan engagement across Nigeria, South Africa, Kenya and Ghana. The strongest platforms will combine reliable technology with local knowledge, clear pricing and transparent rules. Rules need to cover privacy, advertising, payments and age restricted content.