Crunchyroll President Rahul Purini on how anime took over the world

Decoder with Nilay Patel

Today, I’m talking with Rahul Purini, the president of Crunchyroll, a streaming service focused entirely on anime — and really, the biggest anime service still going. Rahul has a long history with anime: he spent more than seven years at Funimation, a company that started in the 90s to distribute Dragon Ball Z to US audiences, before getting the top job at Crunchyroll.

Anime might seem like niche content, but it’s not nearly as niche as you might think – our colleagues over at Polygon just ran a huge survey of anime viewers and found that 42% of Gen Z and 25% of millennials watch anime regularly. And Crunchyroll is growing with that audience — like most entertainment providers, the service absolutely exploded during the pandemic, going from 5 million paying subscribers in 2021 to more than 13 million as of last month.

But interestingly Rahul says Crunchyroll’s growth isn’t being driven by more and more people watching anime, but more and more anime fans — especially those watching pirated content — choosing to pay for it.

Links:

• Anime is huge, and we finally have numbers to prove it — Polygon
• Funimation is shutting down — and taking your digital library with it — The Verge
• Sony completes acquisition of Crunchyroll from AT&T — The Verge
• Funimation’s anime library is moving over to Crunchyroll — The Verge
• Crunchyroll now has more than 13 Million subscribers — Cord Cutters News
• Crunchyroll's CEO Colin Decker leaves company; Rahul Purini becomes new president — Anime News Network
• PlayStation keeps reminding us why digital ownership sucks — The Verge
• Sony’s Crunchyroll launches free 24-hour streaming channel — Variety
• Crunchyroll is adding mobile games to its subscription — The Verge
• How Is Funimation producing so many simuldubs? — Anime News Network

Transcript: https://www.theverge.com/e/23845221

Credits:

Decoder is a production of The Verge and part of the Vox Media Podcast Network.

Today’s episode was produced by Kate Cox and Nick Statt and was edited by Callie Wright.

The Decoder music is by Breakmaster Cylinder.

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