Writing Assignment 2
Part 1: Annotated Bibliography:
Alexander, Julia. “Is YouTube the Future of Streaming TV?” Puck, 6 June 2023, puck.news/is-youtube-the-future-of-streaming-tv/.
The article explores YouTube’s unique position in the streaming industry. With its large subscriber base, diverse content, and seamless ecosystem, YouTube became the biggest media platform in the world. Its ability to engage subscribers for a long period, facilitated by an effective algorithm and a variety of services ranging from free to premium content, underscores its influence. Moreover, the article contrasts the performance of a show on YouTube versus on traditional streaming platforms to underscore how being a video search engine increases consumer accessibility. However, it fails to explore in depth the challenges YouTube faces, such as being under regulatory scrutiny and its struggle to create premium content.
"Amazon has Hollywood’s Worst shows but its Best Business Model: The Shopping Channel." Global Business Review (2023) ProQuest. 24 Feb. 2024 . https://www.economist.com/business/2023/08/27/amazon-has-hollywoods-worst-shows-but-its-best-business-model
The article analyzes the unusual strategy of Amazon's streaming platform, Prime, prioritizing the encouragement of customers to make online purchases rather than aiming for the top of the Nielsen chart with its shows. The writer argues that the Amazon ecosystem enables targeting audiences with highly personalized ads, creating stronger ad revenue. Statistics highlight that despite its lack of hits, Prime manages to engage subscribers better compared to its competitors. However, the article fails to provide specific data about the revenue generated by customer purchases who are streaming their costly shows.
Biskind, Peter. "How Netflix Conquered Holywood." Hollywood Reporter429 (2023): 52-5. ProQuest. 24 Feb. 2024
In an excerpt from his new book, "Pandora’s Box," Peter Biskind tells the story of Netflix’s journey from a mail-order subscription DVD company to becoming the biggest competitor of legacy media. In 2010, Content chief Ted Sarandos broke the pilot model by ordering two seasons of the political drama "House of Cards" for $100 million, which would be key to establishing the company's production pipeline. To further disrupt the market, the entire first season was dropped, introducing the binge-watching model. The success of the subsequent show, "Orange Is the New Black," skyrocketed the price of the company's stock and solidified its place as a giant investment in original content. Additionally, Biskind contrasts the achievements of the company with its flawed corporate structure and the lack of permanent employees.
Chalaby, Jean. “The Rise of Platforms.” Television in the Streaming Era: The Global Shift. Cambridge: Cambridge University Press, 2023. 56–73. Print. Development Trajectories in Global Value Chains.
The book chapter provides a comprehensive overview of the streaming business as a whole. It delves into the history of television and discusses whether streaming should be regarded as a natural evolution or a revolutionary shift of the medium. Additionally, the text compares different types of streaming services, such as SVOD, PVOD, and AVOD, listing the consumer benefits for each and the fiscal benefits for the companies. It also categorizes platforms based on the services they offer and the role they play within the ecosystem of their parent company. Fiscal information and subscription numbers help to show the position of each player and forecast the role they will play as more people cut the cable corde. Overall, the chapter excels in providing an objective breakdown of the streaming business by incorporating specific examples showing the evolution in recent years.
Christian, Aymar Jean, and Chelsea Peterson-Salahuddin. “Rage against the Streaming Studio System: Worker Resistance to Hollywood’s Networked Era.” Information, Communication & Society, vol. 26, no. 5, 2023, pp. 923–40, https://doi.org/10.1080/1369118X.2023.2166363.
Cuelenaere E. How “original” are Netflix Original films? Mapping and understanding the recycling of content in the age of streaming cinema. Media, culture & society. Published online 2024. doi:10.1177/01634437231224081
Eliashberg, Jehoshua, et al. “Opinion: Just Ask Taylor Swift: Data Make the Case for Movie Theaters versus Streaming.” Los Angeles Times, Los Angeles Times, 1 Dec. 2023, www.latimes.com/opinion/story/2023-12-01/taylor-swift-eras-film-beyonce-renaissance-movie-theaters-streaming.
The article debates the importance of the theatrical experience in the streaming age. The argument presents that theaters remain crucial elements to the critical and financial success of the film. It highlights that people tend to prefer going to the theater, referencing data provided by IMDB indicating a preference to experience big-budget and franchise films in theaters. Moreover, the writers theorize what the prospects might be if a film were to be released in theaters versus premiering on a streaming platform. However, the article lacks counterarguments that address the potential drawbacks of solely relying on theaters in the competitive landscape cultivated by streaming.
Flint, Joe, and R. T. Watson. “Quibi Is Hollywood’s Biggest Short-Form Failure—but Not Its First; Streaming Platform Pitched High-Production Shows in Format Dominated by User-Generated Content.” The Wall Street Journal. Eastern Edition, 2020.
Fortmueller, Kate. Hollywood Shutdown : Production, Distribution, and Exhibition in the Time of COVID. First edition., University of Texas Press, 2021, https://doi.org/10.7560/324608.
Hadida, Allègre L., et al. “Hollywood Studio Filmmaking in the Age of Netflix: A Tale of Two Institutional Logics.” Journal of Cultural Economics, vol. 45, no. 2, 2021, pp. 213–38, https://doi.org/10.1007/s10824-020-09379-z.
Hayes, Dade. “Most Moviegoers Will Still Go to Theaters Even If What They’re Seeing Will Soon Be Streaming – Study.” Deadline, Deadline, 5 Apr. 2023, deadline.com/2023/04/moviegoers-theaters-windows-theatricals-streaming-study-uta-1235318125/.
The text discusses the findings of a report conducted by UTA IQ, a talent agency research and aThe text discusses the findings of a report conducted by UTA IQ, an analytics group, which examines moviegoing behaviors and public perceptions surrounding the theatrical experience. It reveals that even if a movie's release on streaming overlaps with its theatrical run, it won’t necessarily discourage audiences from going to a theater. Additionally, it shares encouraging information indicating that audiences intend to increase their moviegoing tendencies. However, there are some concerns regarding the rising costs of movie tickets and the lack of diversity in the movies being exhibited in theaters. Overall, the text provides precise and comprehensive data about US consumers, but it disregards international audiences, which are instrumental to a movie's box office success in today's global market.
Johnson, Derek. “Pluto Tv.” From Networks to Netflix: A Guide to Changing Channels. Second edition, vol. 1, pp. 21-3, Routledge, 2018, https://doi.org/10.4324/9781003099499.
The chapter focuses on Pluto TV, a free ad-supported streaming television (FAST) service that emulates the user experience of broadcast television on a digital platform. It incorporates the television grid model by creating various channels featuring licensed intellectual properties. The drop in experience created by FAST channels enables legacy media to adapt the binge-watching model while retaining a familiar experience for users. Moreover, the text showcases how other media companies use this model to maintain their old legacy channels while creating new ones, thus appealing to a diverse audience. Overall, the chapter excels in providing a comprehensive analysis of Pluto TV, supported by various academic sources, and creates a timeline tracing the growth of the platform.
Johnson, Michael. “Hollywood Survival Strategies in the Post-COVID 19 Era.” Humanities & Social Sciences Communications, vol. 8, no. 1, 2021, pp. 1–8, https://doi.org/10.1057/s41599-021-00776-z.
Littleton, Cynthia. “What Did We Learn? Hollywood Is Back in Biz, but Ripple Effects of Strike and Streaming Shakeout Are Just Starting.” Variety, Variety, 28 Nov. 2023, variety.com/2023/tv/news/hollywood-strikes-takeaways-delays-streaming-yvette-nicole-brown-mike-royce-1235802726/.
The article highlights how the strike forced media companies to reconsider their business model, increase the pressure to cut costs and demonstrate revenue generation. It is estimated that the new contract will significantly increase production expenses, which will result in companies scaling down their content production. This could also have creative implications, potentially limiting on-location shooting, special effects usage, and securing exclusivity deals with talent. However, it also acknowledges that more attention will be directed towards wage disparities and assistance for lower-tier talents. Despite the text’s ability to provide immediate implications of the strike, it fails to project the long-term effects it will have on the industry.
"Netflix Won the Streaming Wars. What’s Next?" The Hollywood Reporter, 26 Jan. 2024, p. 11. Gale In Context: Biography, link.gale.com/apps/doc/A780849027/BIC?u=usocal_main&sid=summon&xid=5ef7c2ef. Accessed 24 Feb. 2024.
The text explores the evolution of Netflix’s position in the streaming industry, particularly its ability to partner with competitors, control intellectual properties, and create new avenues for revenue generation. It highlights that Netflix has become a leader in the industry and is in a position to improve the position of its competitors by streaming their shows. It also raises questions about the disruption the streamer may cause to the advertising business due to its international presence and monetization capabilities. Quotes from CEO Ted Sarandos and media experts articulate the reasons Netflix had to reconsider its original business model and how the model is adapted to 2024. However, the article lacks further exploration of the potential challenges Netflix may face by adapting new strategies and the repercussions they can have on the industry as a whole if they fail.
Pitre, Jake. “The Magical Work of Brand Futurity: The Mythmaking of Disney.” Television & New Media, vol. 24, no. 6, 2023, pp. 712–29, https://doi.org/10.1177/15274764221128923.
Porter, Rick. “Creators Once Dreaded the Pressure of Ratings, Now They’re Fighting for the Data.” The Hollywood Reporter, The Hollywood Reporter, 8 Sept. 2023, www.hollywoodreporter.com/business/digital/tv-showcreators-fight-ratings-data-streamers-1235582324/.
The text discusses the lack of transparency surrounding streaming viewership and the potential impact on revenue participation through residuals. Initially, streaming platforms were able to avoid sharing data, as it was seen as a mean to grant more creative freedom by not tying a piece of content's success solely to its ratings. However, the tide turned as shareholders demanded increased profitability, leading to a greater emphasis on shows leading the rating charts. The increase in transparency heightened tensions, eventually resulting in joint strike of the Writers Guild of America (WGA) and the Screen Actors Guild (SAG), forcing streamers to adopt some remuneration principles of the linear television model. The acrticles lacks information about the ramifications of these changes and specific examples of how streaming affected the salaries of actors.
Richardson, Drew. “2024 Is Shaping up to Be the Year of the Streaming Bundle.” CNBC, CNBC, 26 Dec. 2023, www.cnbc.com/2023/12/26/2024-year-of-streaming-bundle.html.
The writer dissects the streaming landscape of 2023 and provides predictions for the upcoming year. With the exception of Netflix, most platforms struggled to retain customers and increase ad revenue. To combat this, platforms are turning to bundling, offering multiple services at an attractive price to prevent subscription cancellations. However, this introduces challenges such as how to distribute the average revenue per user (ARPU) among the collaborating platforms and facing revenue shrinkage. Executives consider merging multiple platforms a vital strategy to provide some much-needed upside for the industry. However, the article lacks integration of quotes from the executives it mentions and fails to delve deeply into this year’s challenges.
Schley, Stewart. “Why Library Content Could Drive the Future of Streaming.” Variety, Variety, 19 July 2023, variety.com/vip/why-library-content-could-drive-future-of-streaming-1235653681/.
Shaw, Lucas. “2024 Hollywood Predictions: The Year to Consolidate or Crumble.” Bloomberg.Com, Bloomberg, 2 Jan. 2024, www.bloomberg.com/news/newsletters/2024-01-02/2024-hollywood-predictions-the-year-to-consolidate-or-crumble.
The text surveys the changes and challenges in the media industry as a whole. Following the strike and its financial implications, there is an effort to reallocate financial and creative resources differently. To ensure audience satisfaction, the industry shifts toward prioritizing quality over quantity, and to execute this action plan, there is an executive shakeup to reorganize the corporations. Moreover, considerable effort will be put into strengthening the relationships with actors and screenwriters who were frustrated by the strike. Despite the comprehensive overview of the industry, the article fails to address the challenges of smaller players, such as independent filmmakers and smaller production companies.
Part 2: Streaming Evolution or Evolution?
During my exploration of the media industry, I was surprised to discover that legacy companies were initially irresponsible when operating their streaming platforms. Netflix was the exception, as it benefited from a six-year head start over its competitors. This advantage enabled Netflix to scale its business chronologically and patiently. This contrasted sharply with its competitors, such as Disney+, Amazon Prime, and HBO Max, who rushed their launch in an attempt to catch up. The competitors made reckless decisions, such as spending astronomical amounts and rushing multiple projects based on their intellectual properties, sometimes resulting in low-quality content. Interestingly enough, it took 10 years since Netflix launched for the streaming business to realize they needed to find a sustainable business model. The massive drop in Netflix stock after the company failed for the first time to show subscriber growth it forced platforms to show positive cash flow, which prompted them to be more careful about their spending.
Moreover, I was fascinated to learn about free ad-supported streaming television (FAST), which incorporates linear television elements on a digital platform. The existence of multiple streaming channels replicating the cable experience made me realize that people who are cutting the cable cord are likely to adopt FAST channels, as they offer a great alternative without the hefty price tag of cable. It appears to me that while streaming was perceived as a revolution at first, it will soon be regarded as the natural progression of the television medium. The growing integration of advertisements and adaptation of the Nielson chart as a measurement success further support that notion.
Some studies suggested that streaming services don't cannibalize theater exhibitions of films if they are available simultaneously. This was one of the biggest revelations during my research, as the media often demonizes streaming platforms and accuses them of destroying the theatrical business. Yet, the variety of content available on platforms created a reality in which a film must have a special quality to perform well at the box office. Subscribers have become accustomed to accessing quality content, meaning movies must either become cultural phenomena or blockbusters to entice subscribers to the theater.
Additionally, I was taken aback to find that YouTube is considered a streaming platform, as it is often regarded as a video search engine despite offering video-on-demand services. The platform's global reach and users' familiarity with it represent a significant advantage that should be leveraged. YouTube has the potential to become a leader in the industry by offering a combination of on-demand services and a digital version of linear television, something that leaders such as Netflix and Disney+ fail to provide. Its personalized experience, the subscriber’s participation in content creation, and the interactive social elements provided by the comments section should be studied as the next evolution of streaming.
Prior to my research, I often viewed streaming as the primary cause of the industry's existential crisis and its declining state. I tended to perceive each of the innovations introduced by streaming as an attack on the industry’s traditions, especially when it disrupted the established order created by legacy companies such as Paramount and MGM. However, the more I read, the more my perception changed as I understood that the industry was attempting to anticipate solutions to pressing issues such as declining TV cable viewership and consumer distraction by social media. Yet, I do believe that my negative perception of those platforms had to do with the lack of a smooth transition between the new and old industry practices. This led me to believe that I would write an informational essay about the mistakes made during the inception of streaming. The text will enable me to incorporate the extensive data provided in the text I selected and weigh them against the actions and words of streaming executives. My main argument will highlight that the platforms forgot they were part of the media industry and instead adopted the conventions of technology companies. It will be strengthened by analyzing how the WGA and SAG strikes made an effort to correct those practices, ultimately forcing even Netflix to leave behind certain outdated practices. Overall, my research has underscored the dynamic nature of the media industry and the constant ongoing evolution of streaming platforms.