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sarahzedig
@sarahzedig

with the writer's guild on strike, some are expecting to see a deluge of reality shows like we did in 2007. but i think there's a new game in town for streaming services to pounce on: youtubers.

watch my new video and leave a comment if you have your own thoughts!


sarahzedig
@sarahzedig

so after posting this video yesterday i got a comment saying that Nebula is sponsored by Discovery Channel, which i did not think was true and decided to look up. and it isn't true! Nebula is not sponsored by Discovery Channel as far as i can tell. HOWEVER, researching the subject led me down a bit of a rabbit hole, starting with this article from 2021.

let me cherry-pick three quotes for you here:

Creator-owned streaming service Nebula, which bills itself as a “thoughtful expansion pack for YouTube,” has received its first investment. Longtime content partner Curiosity Stream has seeded an undisclosed amount of money in the platform.

Curiosity Stream, meanwhile, is a publicly traded, documentary-focused streaming service on NASDAQ (under the ticker CURI) from Discovery Channel founder John S. Hendricks. Its market cap is currently just north of $585 million.

Curiosity Stream sponsors content from select Nebula creators

(emphasis mine)

so basically-- creators who reach a certain threshold of saturation/professionalism/reliability on Youtube might get an offer from Nebula to create content for their platform. then Nebula creators who reach a certain threshold of saturation/professionalism/reliability might get an offer from Curiosity Stream to create content for their platform. this is a pretty clear instance of the "professionalization pipeline" i theorized about in the above video, and it's already been kind of real in a very limited sense for at least three years.

now, i want to be clear about some things here. first of all, i do not believe this is inherently a bad thing! i think we need a professionalization pipeline for online video producers if this gig is to ever resolve into a sustainable career. and SO FAR, Nebula/Curiosity Stream have operated with clearly defined principles and priorities beyond simple economic growth. the above article even points out that creators on Nebula are treated as shareholders, and in the event of an acquisition they'd take 50% of the profits. (though if i may don my cynic's cap, the phrasing "treated as" makes me wonder if said creators are actually shareholders, and if they would still maintain a controlling interest in the company after getting paid for the acquisition)

secondly, as far as i can tell, John Hendricks no longer has any connection to Discovery. he stepped down from the board of directors at Discovery in 2014, though i have no doubt he still owns stock in the company. so no, neither Nebula nor Curiosity Stream is "sponsored by" Discovery Channel. furthermore, Curiosity Stream as Nebula's bigger brother seems committed to an ad-free subscription-based model, which fundamentally limits some of the growth potential i outlined in my video.

DOUBLE HOWEVER. i want to highlight this section from the LA Times article linked above re: Hendricks stepping down from Discovery:

Hendricks stepped down as CEO of Discovery in 2004. Since then the Discovery networks have added more commercial fare in the form of reality shows

While there have been criticisms about Discovery pursuing more commercial fare at the expense of educational programming, Hendricks defended the company’s broadening of its appeal in his autobiography “A Curious Discovery,” published last year.

I could not disagree more,” Hendricks wrote. “Nor will I ever apologize for having built Discovery on good business principles.” In his letter to the board, Hendricks praised [David] Zaslav for being a “careful steward of the Discovery brand.

(emphasis, once again, mine)

uh oh, David Zaslav jumpscare! if you don't recognize his name, you should: Zaslav is one of the architects behind the disastrous Warner/Discovery merger, who pushed for an endless variety of IP to be removed from various streaming services to avoid paying residuals to the artists who created them. this is a huge talking point amid the WGA strike, and while i don't want to put too much weight on comments made to press in 2014 i don't think it's unfair to raise an eyebrow or two at this connection.

so let's wrap this up by remembering that when Discovery Channel first started, they funded high-quality educational content on a variety of subjects, gained a ton of notoriety and good will among audiences (growing up, Discovery was our go-to fallback for when nothing else was on). then slowly, over time, they shifted their priorities towards low-cost, high-volume reality shows. i cannot emphasize enough that Discovery becoming the purveyor of absolute trash it is today was unthinkable twenty years ago.

now we have Curiosity Stream, positioned similarly as a principled platform dedicated to education without rampant commercialization. their connection to Nebula makes a lot of sense in that respect, as several generations of aspiring educators and documentarians have had nowhere else to turn to peddle their wares but Youtube for years. downplay the average quality of Youtube content all you like, the fact is a huge percentage of the folks there would've been making PBS documentaries forty years ago. a commitment to giving the best of those creators the opportunity to actually make something with a (bigger than they're used to) budget could prove to be very fruitful! but how long can we really rely on those priorities when Hendricks himself praised Zaslav for the commercialization of Discovery? there is simply no getting around the fact that Curiosity Stream is a publicly traded company, and if we've learned anything over the last ten years it should be that there are no founding principles so pure they can't be openly decimated for profit in an acquisition or merger.

everything i theorized about in the video depends on a whole host of factors. i do not think the corporate capture of Youtube-likes is inevitable, nor even especially likely to succeed. but here already we have the first inklings of an attempt at this strategy, with the satellite connections between Hendricks and the broader corporate telecom industry, and the emerging pathway to professionalization for creators from Youtube to Nebula to Curiosity Stream. will it manifest into a business model comparable in savings to the reality show boom of the mid 2000s? i don't know. right now it seems unlikely. but all it takes is one company to kind of get it right once for every other streamer to take notice. capitalists are senseless herd animals, and they've never met a scam or a failure too obvious not to invest in if it helped even a single competitor turn a profit. so far i don't think Nebula/Curiosity Stream have made that kind of splash in the streaming world, but the market is rapidly changing and studios are desperate to make their debt vehicles streaming services profitable, either literally or speculatively.

anyway, i want to end by addressing some of the doom & gloom i've gotten in the comments saying i'm right and everything's going to get worse and etc etc etc. cut it out! this is not "the sky is falling." the success of a strategy like this depends on the obfuscation of the capitalist's true goals in the eyes of the consumer. the more people have clear eyes about this, the less likely the strategy is to succeed. remember how effective it was bullying companies & celebrities over NFTs and cryptocurrency? you can't be ready to do that when the time comes if you haven't put some thought into it first. so pay attention not just to what they say but what they do, and don't be afraid to talk about this (respectfully!) with other people in your life, especially those who might not be inclined to agree with you at the moment. because if enough people express the same skepticism, more people will see it and feel it and agree, and that's how it spreads. not all at once, not overnight, but cumulatively over years. ten years ago unions were dead in America and "socialism" was a four letter word. look where we are today! look how fast these things can change! it may not have resulted in material policy gains yet, but such is the nature of the oncoming wave: you can't see it until it's already arrived. this is a long game, and we have to be in it for as long a haul as the capitalists are.

in short: tell a lass capitalism's bad, she'll be a comrade for a day; teach a lass how to see & communicate capital's shortfalls in advance, she'll be a comrade for life, and sooner or later so will all her friends, and their friends, and on, and on, until suddenly "socialism" starts looking like the liberal center it should be


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in reply to @sarahzedig's post:

ah but that's just it, i don't think the stuff they bring over necessarily needs to be long form. i could see a sort of "broadcast channel" like how adult swim has roku feeds that constantly air episodes of rick & morty, or maybe a neverending playlist of youtube-like "originals" that tries to replicate the autoplay feel. it's really hard to predict the exact form these things might take, but i think there is a tremendous amount of untapped potential in the design of the platform itself & the various ways it delivers content to the user, and if one studio has the vision to hire one guy with a single good idea on that front, and if that idea pays off, everyone will follow. capitalists are trend-chasing cowards

i'd disagree with the "broadcast channel making kinda short form video" thing from sricking, mostly on the thing that short form video has a large element of self selection of what you want.

since these platforms feed you algorithmic trash and everyone making videos tries to make a hook for a vid that hits in like, a handful of seconds, anything shortform adjacent trying to work needs to have a scale incredbly larger than any hand picked, pilot scheme would allow OR somehow fix a problem no social media has ever fixed, which is not bore or annoy people when you only capture the rough vibes of a person and their interest. imo shortform video without the ability for someone to skip what theyre seeing almost immediately will be grating as hell to even a mainstream, shorts-a-like loving audience.

i think you're right, but i also do not underestimate the ability of guys with multiple hundreds of millions of dollars to spare to make catastrophically stupid decisions. i also also could have done a better job foregrounding that i don't think what we'll see other platforms do will look like or operate like or even directly attempt to directly replicate youtube's model, but rather will take the demand youtube's model meets and reinterpret it for their ends. the big thing here is that the form is incredibly malleable and can change in ways we cannot predict. if it's not exactly the kinds of things i've described, it may very well be something quite similar that looks completely different but serves the same fundamental end

i think they'll try to do this but i'm very skeptical about how well that can scale in the long run. but that's also a variable that's highly contingent on the results of the WGA strike-- if they successfully block the right of studios to produce algorithmically generated scripts, that's a big step towards the strategies i speculate on in this video. idk, we'll see!

ah yeah, i'm mostly focused on how studios will retaliate to wins from the strike after it's over, in the same way that the rise of reality shows post-2007 writer's strike wasn't just a panic button they pressed to fill the schedule until it was over, but an extremely profitable union-weakening business innovation that remains popular to this day. trying to speculate about the next ten years more than the next three months, ya know

first off, love the off-handed comment implying a distinction between 'capitalists' and 'people'. big fucking mood,

but also like, i sorta feel like getting specific youtubers would not be as big of a pull just by virtue of, how big the experience of using youtube seems built around variety? like the way youtube encourages you to use it (at least as far as i can tell) is by subscribing to basically anything that piques your interest and watching the recommended videos, and my regular experience using youtube tends to bounce pretty fluidly between cooking videos and let's plays and leftist video essays and random creative projects and absurdly niche deep dives into specific topics without any particular loyalty to a specific channel

like i'm sure if peacock pulled mr. beast they would probably be able to get some amount of viewers who are particularly loyal to his content and don't mind switching to a new service just to get it, but for all the people who subscribe to mr. beast because they like when his videos show up in their recommendations and that makes that happen more often, who watch his videos because they're autoplaying in the background while they're doing something else, who only watch his videos because they show up on youtube's trending page, who don't even have a youtube account and wouldn't want to make an account on some other site just to watch a random video that got linked by an acquaintance in a group chat? i imagine it would be much, much less of a draw unless peacock also spent a bunch of money on courting dozens of other content creators to really make something comparable to the youtube experience, and that seems like more money than they'd want to risk

so i think it's not unreasonable to expect studios to do a few big flashy expensive pulls at the start to sell their service, because that's what they always do. netflix made waves with how much it was spending on acquiring new content back in the early days of their originals, and the downstream effect of that has been more netflix users talking about more netflix products. the value of that extends beyond the subscription revenue. a peacock spending a lot on a bunch of mid-to-high tier content creators of a bunch of different genres as a pilot program for their FAST platform would be a big initial investment, but if enough people jumped platforms that in itself would look like a win to investors, which would manifest in the company's wall street valuation going up.

i absolutely agree that there's a lot of really precarious steps these platforms would have to take in order for this approach to succeed, but i'm very keenly aware of how often we assume corporations are dumb & feckless when they spend years treading water. but they always find a way to reinvent themselves out of the blue by bringing in a new executive or whatever, generate positive press, spend a ton of money (quite possibly an unreasonable amount of money) on content/creator acquisitions to lure audiences in. that's the whole strategy-- flashy acquisitions to generate buzz, make it a deal too good to turn down for users, slowly drain the competition, and when your audience has nowhere else to go stop spending as much and find more ways to monetize what you already have. we're looking at a long game here, on a minimum scale of ten years.

i suppose that's fair, it just seems like. youtube is operating on a big enough scale that it'd be very hard to pull enough content to replicate the experience? like i have this sense that even if a streaming service paid for the exclusive rights to the channels of like, 100 big-name youtubers (which would reach comfortably into the tens of millions of dollars i think) it probably wouldn't cause the sort of big platform shift that would justify that kind of spending and just leave behind a void that gets pretty quickly filled by a whole bunch of up and coming new talent, and i imagine trying to put more than that much money on the table would have a lot of shareholders thinking about quibi and being very nervous, even if there's not one streaming company that tries to pull like A youtuber and doesn't really end up pulling very many fans at all and puts a good chunk of the industry off the idea

certainly not saying that it's completely infeasible that this happens! and maybe i have a skewed sense of the sorts of risks that companies are likely to take? just that like, it seems to me like a lot of the strength of youtube as a platform is the sheer variety of content you get from lots and lots of people who're willing to make videos for fun or passion or as a side gig or for 'i get paid like $20k/y between patreon money and ads and i'm willing to accept that if it means i get a reasonable amount of control over my schedule and my creative work' and i just don't think that structurally there's a way to capture that on the sort of platform where the content is controlled by executives and they have to pay people salaries

one thing i feel tour vid did capture is just how much that capitalism doesnt just destroy the imagination (capitalist_realism.pdf), but also make it clear that the whole system is so rigged in their favour top to bottom, that bringing up real alternatives is something that while definitely can/will be seen as a bummer, something that shows that this is kinda their ball game, not ours.

i will also mention how much i felt you have serious confidence in youtube, i think there's going to be some combination of yet more controversy, and googles wish to try wrap up amd delete anything older than a few years further eating up the history of the internet to the point that youtube starts being another photobucket, with videos from before like, 2014 starting to be deleted because they dont have any recent activity. honestly i dont see many studios trying to save online video if other social media platforms still are around to do what they do. just keep doing the same lilly singh or auntie donna approach of trying to fit online people into the sort of shape they want them to be

oh i have very little confidence in youtube, i think google/alphabet would very much like to jetison youtube at the earliest possible opportunity (likely in favor of something that gives even less freedom to the user/creator). but so far they have won the ad war and the platform has a pretty firm cultural foothold. i do not know when or how things will change, just that they absolutely will