It made me shudder because I've been reeling against the idea of the entertainment (and, closer to home, the animation) industry being only that: an industry.
I am philosophically concerned about the worldview (i.e. the industrialization of everything) that dehumanizes everyone into no more than cogs in a machine and numbers on a spreadsheet. Your point simply made me see the same perspective in the streamers, reflected again in the audience conveyor belt metaphor that you aptly used. It was the reminder of how many executives don't see people, but as sources of revenue.
Alas, I know you are right. And I always appreciate your pragmatism.
I may be deluding myself, but I hope for a world where we are able to strike a balance between making a living and nurturing the audience at the same time. To recognize the value of the audience (and kids, especially) as humans worth nurturing, instead of resources ripe for exploitation.
There's a saying in Spanish: "Tapar el sol con un dedo" (literally "to cover the sun with a finger"). It's used when someone attempts to hide something that is too conspicuous, or to pretend that something obvious is not actually there. Perhaps I am indeed deluding myself.
I'm totally with you, there needs to be full acknowledgement and appreciation of the audience, the most important audience to do right by in fact, kids. But the most productive and impactful way to do right in capitalism is to find a way for doing right to make commercial sense. Keep your philosophical view! It's important to always have that. Not everyone does unfortunately.
Looking forward to your thoughts on m YT Emily. We know that netflix has, over time, learnt how to leverage YT's enormous reach to drive discovery and sampling of its own shows. The Gabbys Dollhouse partnership which you have written extensively about is case in point. YT is free and almost ubiquitous like public media but doesn't have its safe haven cache. To not bring the platform into the mix will be shortsighted
Thank you for your thoughts on this, Emily!
You are right. Strategy is not a bad word!
I did shudder at the sarcastic suggestion of how some streamers could see kids as growing up to become an inbound stream of customers, though.
In any case, I'll be looking forward to reading Part 2 (and all new entries) on your newsletter.
What made you shudder on this one Daniel? I feel like the audience conveyor belt is a game we play in every micro segment of the kids audience.
It made me shudder because I've been reeling against the idea of the entertainment (and, closer to home, the animation) industry being only that: an industry.
I am philosophically concerned about the worldview (i.e. the industrialization of everything) that dehumanizes everyone into no more than cogs in a machine and numbers on a spreadsheet. Your point simply made me see the same perspective in the streamers, reflected again in the audience conveyor belt metaphor that you aptly used. It was the reminder of how many executives don't see people, but as sources of revenue.
Alas, I know you are right. And I always appreciate your pragmatism.
I may be deluding myself, but I hope for a world where we are able to strike a balance between making a living and nurturing the audience at the same time. To recognize the value of the audience (and kids, especially) as humans worth nurturing, instead of resources ripe for exploitation.
There's a saying in Spanish: "Tapar el sol con un dedo" (literally "to cover the sun with a finger"). It's used when someone attempts to hide something that is too conspicuous, or to pretend that something obvious is not actually there. Perhaps I am indeed deluding myself.
I'm totally with you, there needs to be full acknowledgement and appreciation of the audience, the most important audience to do right by in fact, kids. But the most productive and impactful way to do right in capitalism is to find a way for doing right to make commercial sense. Keep your philosophical view! It's important to always have that. Not everyone does unfortunately.
Looking forward to your thoughts on m YT Emily. We know that netflix has, over time, learnt how to leverage YT's enormous reach to drive discovery and sampling of its own shows. The Gabbys Dollhouse partnership which you have written extensively about is case in point. YT is free and almost ubiquitous like public media but doesn't have its safe haven cache. To not bring the platform into the mix will be shortsighted
It’s in the mix with Sesame Street but is a major concern if this model were to apply to an original IP.