How Unbundling Television Will Go

With HBO and CBS announcing plans for digital subscriptions, the future of television continues to look like people choosing what to watch rather than being corralled into overpriced packages. But there is a grave uncertainty in it. What if viewers trade one overpriced cable bill for a set of overpriced services?

The average cable bill is around $80. So that’s roughly four options at $20 each or eight at $10 or 16 at $5. But prices and content offerings will not be uniform. So you might pay $20 for a couple, then $5 for a couple.

But businesses want you to pay them more money. If a business is selling a package for $20, but you really only want one item from that package, eventually they’ll decide to sell it to you. How long will that take? They already do this through syndication. The whole business model of HBO is a secondary market. After the theater, before cable or network, the studios can rent it to HBO. Or Netflix, or whomever.

In all likelihood it will shake out to:

  1. Premium, first-run services
  2. Pay-per-episode and -per-season services
  3. Big-tent, tertiary-run services

So you might really want to see a lot of what one vendor puts out. You’ll buy their first-run service for $20. And then you might have a few shows from other creators that you want, but not enough for their service. There you’ll buy a season pass or the like. And then you’ll get a big-tent service to provide you with older content.

For first-run fiends with a heavy case of fear of losing out, the post-unbundling world will likely be about as expensive as it is now. It will be cheaper if you don’t watch a ton of content or are willing to wait. Will it be cheaper if you can stand to watch some advertisements?

Advertising is a big question mark. It will likely appear on the big-tents, at least at the lowest rung. It will probably be limited in pay-per setups. But it remains to be seen if it will show up in the premium services. The age of the DVR has tons of people just skipping over ads as it is. Why they bother with them when they’re easily skipped is unknown. Even if you couldn’t skip ads, the modern viewer can just pivot to checking a social feed while a muted ad plays on.

Another big question is in integration. Sure, with a streambox like many companies offer you can integrate multiple streaming services. But will the general purpose computer be stuck with separated apps and sites? Will a streambox App come that lets you integrate streams, or will that be blocked by streaming companies?

Unanswered questions aside, the new rules look a lot like old rules. Patience is a virtue, and can save you money on content. Fear of losing out is a losing strategy. Keep your friends close and your weapons loaded. Wait, that one’s for zombies. Maybe the biggest rule will be: there’s still very little content worth your time, no matter how cheap or how much content there is to choose from (with the caveats being that there’s more of it than you recognize, and you’re often wrong about what you want to view).


Content Programming Harms Content

Stagnant, mismanaged markets harm consumers. The broken video media market stands out as a broken marketplace. Relatively few competitors. Highly-coupled market components such as distribution with content makers make for less customer choice.

Tight-coupled markets mean decisions arise from the top or center rather than from the bottom or edges of the system. Akin to central planning, the oft-criticized anti-feature of most communist systems, decision concentration leads invariably to inefficiencies via poor decisions.

Content programming harms content. It arises from the market structure, and programming lead to poor decisions. The most criticized result of content programming comes in cable news. People lament the low quality of cable news content, while pointing to the need to fill “24 hours” as the cause (of course, it is not truly 24 hours, as the cable news networks show repeats overnight, excepting extraordinary breaking news).

But time-to-fill harm pales in comparison to the very notion of the timeslot. Timeslots arose from the radio and content programming there. A vestige of broadcasting, they filled the need to provide content over the limited resource of the airwaves. When broadcasting began on television, the limitation of the delivery medium continued to exist, as it did over cable television.

Advances mooted these limitations. Attention bottlenecks content delivery much more than distribution today. And yet content remains coupled to the timeslot, due to the broken market. So-called gluttonous viewing of content via video streaming services such as Netflix points to future erosion of the timeslot, but consumer expectations may keep it and its harm alive.

Many programs run longer than they need. This leads to filler content that weakens pacing and increases plot predictability. The occasional show runs shorter than it needs, leading to abbreviated or lost quality content (subplots and the like).

The same harms show out in the series or season model used for most television content. Shows may be cut short before their time due to the programmers’ incorrect expectations of popularity. Or they may run several years beyond their time due to the wish to reap as much profit from a once-popular, once-innovative show.

These things apply to the film industry as well. Sequels to movies that should never have been made, or shorts being turned into features when the short time serves their story better.

So-called webisodes also point to erosion of the programming norms. Free web-exclusive shows often arrive on irregular schedules and yet retain strong viewer bases. Discovering the true breadth of the actual video market will take years of erosion of the status quo. It may be that a certain amount of regular-release, traditional-length will remain, or in fifty years the only shows that come out at 22-to-30 minutes will be throwbacks and re-runs.

Just like storage media dominated by floppies helped limit the types of expressions of early computers, we’re certainly being limited by the current limits imposed by content programming.


Video: and You

Cool video about the Data Portability Project.

DataPortability – Connect, Control, Share, Remix from Smashcut Media on Vimeo.


Just what is this ‘Chocolate Rain?’

First I’ll let you a link to the YouTube video if you’re not familiar. It’s here.

I’m keeping myself from posting the lyrics and trying to do a line-by-line interpretation, but I’ll do some quoting which I’ll separate for clarity.

And now I’ll press play and start. Thanks to TayZonday [site still under development, redirects to his YouTube account] for this song. People may criticize it for the repetition of the title lyric, but I think that it’s such a broad concept and its perpetual inclusion between the content lyrics just drives down what it’s really about.

Okay. Chocolate Rain is very much like the so-called American Dream. It’s this drive of nations and men toward wealth and power despite the consequences. Now here’s some of the lyric to back that up:

Some stay dry and others feel the pain
Build a tent and say the world is dry
Zoom the camera out and see the lie
Seldom mentioned on the radio
Its the fear your leaders call control
Worse than swearing worse than calling names
Say it publicly and you’re insane
Dirty secrets of economy
Turns that body into GDP
The bell curve blames the baby’s DNA
But test scores are how much the parents make
Which part do you think you’re ‘livin in?
More than ‘marchin more than passing law
Remake how we got to where we are.

Those are hopefully in order. Those were some of the major lines that brought me to the conclusion of ‘what is Chocolate Rain?’

It’s especially apparent in lines like Build a tent and say the world is dry. The implication being that most people focus mostly on themselves and if they are okay the world is okay. That’s a fair accusation, I think.

The chocolate rain that falls and we try to catch it is the other big clue here. Imagine you are in a field with 1,000 people and chocolate rain, or maybe a little more effective for my case, $100 bill rain, begins to fall. Look at the parade scene in the first Batman movie. People would start trampling each other for the value that is all around, even if, maybe especially if, there’s enough for everyone.

And that seems to be the nut of this song as far as I can tell. People I know and the internet I normally come across doesn’t especially discuss the meaning behind songs or works that much so I’d be interested in hearing your take on what this song means.




Preview of bookstack

Below is an embedded YouTube flash player with a preview (screen capture of its very alpha state) of the extension I’m working on, “bookstack.”