Where does content generation stop and technology begin?

January 5, 2018

Although consolidation within the media landscape is not a new phenomenon, it has become of strategic significance against the backdrop of the emergence of digital verticals. Where tech companies are moving in the direction of becoming content producers, content producers are moving in the direction of becoming more tech oriented. Each of these instances are aiming for controlling every aspect of the digital value chain, ranging from interface, platform, infrastructure to content. Welcome to the game of stacks.

Our observations

  • In a $52 billion deal Disney acquired the majority of the assets of 21st Century Fox. Furthermore, Disney decided that it would pull its movies from the Netflix library. In the past Disney already acquired content companies such as Marvel, Pixar, LucasArts and Miramax.
  • After a total investment of $ 2.58 billion, Disney currently owns 75% of BAMTech, a technology company known for building streaming platforms. Disney thereby possesses the means to build their own streaming platform.
  • Citi analysts speculated that there is a 40% chance of Apple buying Netflix. In that same report they attribute a 20-30% chance of Apple and Disney teaming up.
  • In turn, Netflix and Amazon acquired content companies (respectively MillarWorld and Rooftop Media)  with the purpose to expand their content library.
  • Apple is also making an attempt at content production with a budget of $1 billion dollars, reportedly with Steven Spielberg under contract for the anthology series ‘Amazing Stories’.
  • With the repeal of Title II telco companies can leverage their position to strike deals with distribution platforms, or by prioritizing their own content distribution platforms.

Connecting the dots

According to Thompson’s Aggregation Theory, distribution platforms derive their success from attracting users through offering a premium user experience, which in turn attracts the necessary suppliers. In these instances, the power moves from the supplier to the distributor. We have seen this dynamic with the taxi (Uber) and the hospitality industry (Airbnb). Interestingly, when it comes to media content, it turns out that they are harder to commoditize as they represent unique products with loyal consumers, thereby providing the media owner presumably enough leverage to bootstrap themselves into a distribution platform role. Hence, with the acquisition of multiple content companies and BAMTech, Disney is currently taking all the steps necessary for building its own streaming platform. In contrast, we see tech companies like Apple, Amazon and Netflix moving in the opposite direction to create enough substance for their existing platforms. Apart from subscription fees, the biggest value for Disney in creating their own distribution platform, lies in the possibility of having a more intimate relation with their consumer for the purpose of selling adjacent services and collecting and capitalizing customer data. With regards to future acquisitions and strategicmoves other content producers could follow Disney’s example. Furthermore, it is to be expected that tech companies will continue to acquire content producers (for example, Apple could revisit the idea of buying Time Warner). Another option is that the bigger tech companies could team up. As proposed by Citi analysts, Apple could acquire Netflix in order to shortcut their way into video streaming while Netflix could benefit from Apple’s ecosystem. Lastly, tech companies will also compete with each other by beating the other at their own game; Amazon, Microsoft, Google are already trying to compete with Apple at the interface level by developing their own user hardware (e.g. Kindle, Hololens, Google Home) in order to increase lock-in effects for their media content.

Implications

  • After having completed their vertical within media, companies could try to enter other verticals (similar to Amazon premium) for the purpose of capitalizing and enriching their customer data. One could imagine that somewhere in the future Disney could personalize their other products and services (e.g. theme parks and merchandise) based on data collected through their streaming platform.
  • Other content producers could also think of creating their own streaming platforms, possibly leading to the fragmentation.
  • Against the backdrop of the repeal of Title II, distribution platforms will try to seek exclusive deals with telco providers in the attempt to also compete at the infrastructure level.

Series 'AI Metaphors'

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1. The tool
Category: the object
Humans shape tools.

We make them part of our body while we melt their essence with our intentions. They require some finesse to use but they never fool us or trick us. Humans use tools, tools never use humans.

We are the masters determining their course, integrating them gracefully into the minutiae of our everyday lives. Immovable and unyielding, they remain reliant on our guidance, devoid of desire and intent, they remain exactly where we leave them, their functionality unchanging over time.

We retain the ultimate authority, able to discard them at will or, in today's context, simply power them down. Though they may occasionally foster irritation, largely they stand steadfast, loyal allies in our daily toils.

Thus we place our faith in tools, acknowledging that they are mere reflections of our own capabilities. In them, there is no entity to venerate or fault but ourselves, for they are but inert extensions of our own being, inanimate and steadfast, awaiting our command.
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2. The machine
Category: the object
Unlike a mere tool, the machine does not need the guidance of our hand, operating autonomously through its intricate network of gears and wheels. It achieves feats of motion that surpass the wildest human imaginations, harboring a power reminiscent of a cavalry of horses. Though it demands maintenance to replace broken parts and fix malfunctions, it mostly acts independently, allowing us to retreat and become mere observers to its diligent performance. We interact with it through buttons and handles, guiding its operations with minor adjustments and feedback as it works tirelessly. Embodying relentless purpose, laboring in a cycle of infinite repetition, the machine is a testament to human ingenuity manifested in metal and motion.
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3. The robot
Category: the object
There it stands, propelled by artificial limbs, boasting a torso, a pair of arms, and a lustrous metallic head. It approaches with a deliberate pace, the LED bulbs that mimic eyes fixating on me, inquiring gently if there lies any task within its capacity that it may undertake on my behalf. Whether to rid my living space of dust or to fetch me a chilled beverage, this never complaining attendant stands ready, devoid of grievances and ever-willing to assist. Its presence offers a reservoir of possibilities; a font of information to quell my curiosities, a silent companion in moments of solitude, embodying a spectrum of roles — confidant, servant, companion, and perhaps even a paramour. The modern robot, it seems, transcends categorizations, embracing a myriad of identities in its service to the contemporary individual.
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4. Intelligence
Category: the object
We sit together in a quiet interrogation room. My questions, varied and abundant, flow ceaselessly, weaving from abstract math problems to concrete realities of daily life, a labyrinthine inquiry designed to outsmart the ‘thing’ before me. Yet, with each probe, it responds with humanlike insight, echoing empathy and kindred spirit in its words. As the dialogue deepens, my approach softens, reverence replacing casual engagement as I ponder the appropriate pronoun for this ‘entity’ that seems to transcend its mechanical origin. It is then, in this delicate interplay of exchanging words, that an unprecedented connection takes root that stirs an intense doubt on my side, am I truly having a dia-logos? Do I encounter intelligence in front of me?
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5. The medium
Category: the object
When we cross a landscape by train and look outside, our gaze involuntarily sweeps across the scenery, unable to anchor on any fixed point. Our expression looks dull, and we might appear glassy-eyed, as if our eyes have lost their function. Time passes by. Then our attention diverts to the mobile in hand, and suddenly our eyes light up, energized by the visual cues of short videos, while our thumbs navigate us through the stream of content. The daze transforms, bringing a heady rush of excitement with every swipe, pulling us from a state of meditative trance to a state of eager consumption. But this flow is pierced by the sudden ring of a call, snapping us again to a different kind of focus. We plug in our earbuds, intermittently shutting our eyes, as we withdraw further from the immediate physical space, venturing into a digital auditory world. Moments pass in immersed conversation before we resurface, hanging up and rediscovering the room we've left behind. In this cycle of transitory focus, it is evident that the medium, indeed, is the message.
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6. The artisan
Category: the human
The razor-sharp knife rests effortlessly in one hand, while the other orchestrates with poised assurance, steering clear of the unforgiving edge. The chef moves with liquid grace, with fluid and swift movements the ingredients yield to his expertise. Each gesture flows into the next, guided by intuition honed through countless repetitions. He knows what is necessary, how the ingredients will respond to his hand and which path to follow, but the process is never exactly the same, no dish is ever truly identical. While his technique is impeccable, minute variation and the pursuit of perfection are always in play. Here, in the subtle play of steel and flesh, a master chef crafts not just a dish, but art. We're witnessing an artisan at work.
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About the author(s)

FreedomLab Fellow Arief Hühn headed FreedomLab from 2018 until 2023, directing our research and business endeavors with a special emphasis on the impact of emerging digital technologies on the economy, politics and society. He holds a master's degree in communication sciences from Radboud University Nijmegen and a doctorate degree in human-computer interaction from Eindhoven University of Technology.

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