There’s some interesting reading to be found in a paper released by the Canadian Media Production Association last week. It’s titled, Content Everywhere: Securing Canada’s Place in the Digital Future, and it offers up an effective survey of the current media landscape. At first glance, suffice it to say that recent trends continue:
* Video progressively rules on the internet—YouTube now has more than one billion unique viewers every month, with 100 hours of video uploaded every minute.
* ‘Cord cutting’, that is escaping the tyranny of cable ‘bundling,’ continues for consumers—an American who owns an iPad now has a 65% likelihood of being a member of the cord cutter tribe.
* As the market penetration of the so-called OTTs (‘Over The Top’ online streamers like Netflix, Amazon and Hulu) continues to grow—one of the OTTs now reaches almost half of all American households; over 60% of the 18 – 24 demographic—they are moving increasingly into the financing of original content.
The ‘old boys’, the established television networks, know all about these trends of course, and so they have, in recent years, moved actively, if still hesitantly into the digital realm. In Canada, Bell Media launched Crave TV in 2014, Rogers and Shaw finally birthed Shomi, and CBC now has an online comedy channel called Punchline. (Conventional TV’s great strength increasingly remains of course in the provision of live events, mostly sports, but also news, and of course the odd award show, although it’s interesting to note that ratings for the Oscars this year were down about 15%.)
Overall, the evolving picture is of the online media industry maturing, in all the good and bad that that entails. Perhaps most disconcerting is a subtitle within the paper which reads: “Many things about OTT look like TV.” AOL greenlit 16 original series in 2014, all of them featuring major celebrities or movie stars. Pitch meetings with the big-league OTTs are usually booked through agents or entertainment lawyers these days. And we can all be sure that when David Fincher, after House of Cards, pitches his new series, he’ll be strolling into the Netflix offices past a long line of waiting, lesser-known producers who once hoped that the web would provide them with new and different opportunities. Sigh.
And of course, as the paper, points out, creators for the web face a unique set of additional challenges, even as the process morphs into something distressingly familiar. Chief among them are ‘discoverability,’ and an overcrowded marketplace. The gatekeepers for the online game may no longer be the same, but the smaller players still face a huge disadvantage when it comes to putting bums in the seats. They simply don’t have the resources to compete with the big guys at marketing, or at perhaps hiring the talent which comes with a built-in audience.
And finally, if you’re a Canadian hoping to succeed with online content, you face an added problem with financing, because as slow as the big broadcasters have been to move into the online space, the established ‘legacy’ funders, like Telefilm Canada and the tax credit programs, have been even more lead-footed. Because online revenues have been so difficult to realize, these agencies have been extra adept at shuffling their feet and avoiding eye contact whenever, for instance, documentary filmmakers with an online-only audience in mind have come calling.
I’m reminded of the final scenes in George Orwell’s classic Animal Farm, when the pigs move into the farmhouse, begin to walk upright and wear clothes. Or of Daron Acemoglu and James Robinson’s incisive explanation of Why Nations Fail, describing how it is that, following revolutions, tyrants like Robert Mugabe replace tyrants like Ian Smith, how Joseph Stalin replaces Csar Nicolas II. The digital revolution may not have yet completed itself, not yet come right round in what Acemoglu and Robinson term “the vicious circle,” but the streets have gone quiet again. It may be that no one has been sent off to a “knacker” or to the gulag, but if you were among those who dreamed of a better world, or maybe even who manned an online barricade, well, purchase a ticket and get in line. It seems that all along, the digital revolution was for sale, to the highest bidder.