Column: As the Streaming Wars Heat Up, Why Are Consumers Losing Out?

Brett Danaher
Brett Danaher, Ph.D. is assistant professor of management science and economics at Chapman University's Argyros School of Business and Economics.
Column: As the Streaming Wars Heat Up, Why Are Consumers Losing Out?

Want to watch the next season of "Stranger Things" when it comes out? I know I do, so I pay for Netflix each month. "Jack Ryan"? That's over on Amazon Prime. "The Handmaid's Tale"? Hulu. If you think Picard was the best Star Trek captain, you'll need CBS All Access – but at this point in your budget you may be choosing between that or "The Mandalorian," for which you'll need Disney+. And let's not forget the new content exclusive to HBO Max, Apple TV+, BET+, and NBC Peacock.

Most of us are aware of the recent fragmentation of content across subscription streaming services, and we've either had to make some hard choices about which content we will watch or else we're now paying bills for streaming services that resemble the bundled cable bills we paid before we cut the cord. And it's not just the cost that bothers us. When nearly everything was on one of just a few services, we knew where to find it. Now, keeping track of which services have which content – and whether we currently have that service – seems like a job in itself.


I don't think I need to convince most readers that this scenario isn't ideal for the consumer. So why are we here?

It's not that producers and distributors of entertainment content don't want to satisfy customers… they certainly do! But over the last decade or so, movie studios and television networks have seen the incredible power of using data analytics to inform decisions about what content to make, how to market it, to whom to market it and more. Subscription streaming services (like Netflix) observe everything that their viewers watch, and in turn use that information to determine what content to suggest to each viewer next. They even use it to inform decisions regarding what content to license or produce themselves and then to market that content most efficiently. They effectively create a series of personalized channels for each of their viewers, helping to connect you with content that you would love but might not be aware of. And in doing so, they can make investments in content in ways that differ from the traditional models and they reduce the inherent risk involved in bringing new shows and films to market. If you don't believe me, just ask the two professors from Carnegie Mellon who wrote a book about this.

In an era where there is more quality content – both old and new – available to us than ever before, it feels increasingly hard to know what to watch and where to watch it.

The problem that a traditional television network (or movie studio) has is that they do not get this kind of personalized data on each of their over-the-air or box office viewers – nor do they usually get these data from the subscription services that license their shows and films. Even if they had such data, they don't have a platform that serves as a direct connection to the consumer, and so they cannot personalize which shows they market to each viewer and how they market them. That's what subscription streaming services have been able to do. And for a while, networks and studios have felt pretty left out of the new data-driven entertainment revolution. This largely explains why so many major players in the industry want to have a successful streaming service now — to gather individual data about each viewer and have a personalized connection / marketing channel to every one of their customers.

If you are a major network or studio trying to get into the streaming game and you need to compete with an established service like Netflix – who consumers already know and like – what do you do? You fall back on what you are already great at and make content that everyone wants to watch, and you make it exclusive to your streaming service as a draw to new customers. Or you stop licensing your best catalog content to the established streaming players and make it exclusive to your new service (sorry, "Friends" fans, you'll need to pay for HBO Max!). Hence, nearly every one of the subscription services out there has at least a few shows that you probably want to watch, and great content feels fragmented across a plethora of services for which you struggle to remember all of the names.

Watchworthy

Watchworthy's app is one of several trying to make it easier for viewers to find the content they're looking for, across services.

But even if the current fragmentation of content across so many services can be explained as a form of business competition, that does not make it ideal for the end consumer. I've already mentioned the obvious result that consumers are back to facing the choice of paying an ever-increasing multitude of subscription fees, missing out on content, or else turning to piracy. But there is another, less obvious consequence for the customer. When most content that was online was centralized on just one or two services, those services observed most of what a customer viewed online, and thus had a strong understanding of each consumer's preferences. Those services also had an incentive to recommend or market to you the content that you would like most.

Now, however, if you only do 15% of your online viewing on, for example, Hulu, they observe a lot less about your viewing preferences than when you did 50-60% of your television and movie viewing there. They just don't know you as well. Moreover, a service like Netflix or Disney+ only has the incentive to recommend to you the content that is on their service, even if there are shows or films that you would meaningfully prefer on other subscription services. And this leads us to the irony that in an era where there is more quality content – both old and new – available to us than ever before, it feels increasingly hard to know what to watch and where to watch it. By fragmenting content across so many services in an effort to draw in customers and have a more personalized relationship with them, players in the industry have unintentionally left customers struggling to search for and find the content that is best suited for them.

One of the most commonly offered solutions to streaming fragmentation is that we should just bundle the services again – some have suggested that you should be able to pick up a bundle of Hulu, Netflix, HBO Max, etc. for perhaps half of what it would cost to buy them each separately. This may partly solve the customer's budget problems, but note that it does not solve the problem outlined above – if our viewing is spread out across a multitude of services, then the underlying viewer data are still fragmented. No one service knows us particularly well, and no service has the incentive to connect us with the content that best matches our preferences.

Where this eventually leads is a subject for another article – perhaps we will see the failure or consolidation of some of these services, or perhaps a third party can solve the problems I have described even while a number of subscription services retain exclusive content.

There are examples of companies trying to address this issue such as Likewise, Justwatch, or WatchWorthy, but it is not clear whether or not they will succeed (disclosure: I myself am involved in a stealth startup working on a solution to this). Either way, I see this problem as one that requires a consumer-friendly solution, and I fully expect that the market will provide this one way or another.

From Your Site Articles
Related Articles Around the Web

Subscribe to our newsletter to catch every headline.

Cadence

Why Angelenos Can’t Watch the LA Clippers in VR

Decerry Donato

Decerry Donato is a reporter at dot.LA. Prior to that, she was an editorial fellow at the company. Decerry received her bachelor's degree in literary journalism from the University of California, Irvine. She continues to write stories to inform the community about issues or events that take place in the L.A. area. On the weekends, she can be found hiking in the Angeles National forest or sifting through racks at your local thrift store.

Why Angelenos Can’t Watch the LA Clippers in VR

In January, Meta announced that the company had expanded its partnership with the NBA to offer 52 games in VR (virtual reality). According to TechCrunch, the first local game available on VR was the Los Angeles Clippers vs. Cleveland Cavaliers game on Sunday, January 29.

As an avid follower of the NBA and someone who enjoys watching basketball games in-person, I had to test this out. The idea, according to Meta, is to give people who own a Meta Quest headset a “front row seat to NBA games,” with additional access to select WNBA, NBA G League and NBA 2K League games over the course of the season.

Read moreShow less

The Children’s Hospital Los Angeles Is Using Robots To Evaluate Babies’ Neuromotor Skills

S.C. Stuart
S.C. Stuart is a foreign correspondent (ELLE China, Esquire Latin America), Contributing Writer at Ziff Davis PCMag, and consults as a futurist for Hollywood Studios. Previously, S.C. was the head of digital at Hearst Magazines International while serving as a Non-Executive Director, UK Trade & Investment (US) and Digital Advisor at The Smithsonian.
The Children’s Hospital Los Angeles Is Using Robots To Evaluate Babies’ Neuromotor Skills

Inside the Children’s Hospital Los Angeles (CHLA) multiple high definition digital cameras are set up in a fixed-rig around a 22-inch bipedal (humanoid) NAO robot and a similar-sized (human) infant, as part of a study by the Infant Neuromotor Control Lab and the USC Interaction Lab. When the robot makes a specific leg movement, the infant hesitates, and then copies. Then the infant shifts, wriggles and kicks its other leg - which the robot mimics easily, to the infant’s surprise - and delight.

The NAO robot was developed by Aldebaran, now part of the United Robotics Group, and is a sophisticated machine, suitable for healthcare research studies such as this one. The robot has seven touch sensors (head, hands and feet), two ultrasonic sonars which allow the robot to estimate distances to obstacles, and inner technology which allows the robot to move, mimic and perceive its position within an environment. The NAO is a vital part of the global healthcare socially assistive robot market, which is projected to reach $38 billion by 2031.

Read moreShow less

'We’re Running Out of Ore on Earth': Astroforge Targets April for Test Asteroid Refining Mission

Samson Amore

Samson Amore is a reporter for dot.LA. He holds a degree in journalism from Emerson College and previously covered technology and entertainment for TheWrap and reported on the SoCal startup scene for the Los Angeles Business Journal. Send tips or pitches to samsonamore@dot.la and find him on Twitter @Samsonamore.

'We’re Running Out of Ore on Earth': Astroforge Targets April for Test Asteroid Refining Mission
Photo: Astroforge

One of the most-used elements in industrial work on Earth is disappearing.

Popular for industrial use because of its resistance to corrosion and heat, platinum sells for over $1,000 an ounce and is in everything from wedding bands to medical devices to a number of auto parts.

And retrieving what little of the element does remain, will only exacerbate the ongoing climate crisis – resource extraction was the source of half the world’s carbon emissions and 80% of its biodiversity loss in 2019 and that number has likely only risen.

Read moreShow less
https://twitter.com/samsonamore
samsonamore@dot.la
RELATEDEDITOR'S PICKS
LA TECH JOBS
interchangeLA
Trending