Introduction: 24 January 2025
The title is inspired by my current podcast of choice “The Coming Storm” on BBC Sounds. The Streaming Lords: A Journey into Media’s New Power Structure. is inspired by the ideas of the Network State, a reality, and how it is mirrored in our own sector, so read on!
In another place, I am quite a political animal, but here my focus is our industry—media—and the sub-focus is content. I say that because I don’t want this to put you off reading further, but I am moved to write after the first week of President Trump 2.0. His election and actions have occupied my thoughts with the idea of disruption. As many freelancers in the creative sector are feeling acutely, the disruption in our sector has many real-life consequences, financial and mental health being the two most serious effects.
The awful fires in California are, of course, a disruption, and my heart goes out to everyone, particularly friends and colleagues who have lost their homes. The fires will also disrupt our industry, just like the strikes and COVID. But the disruption I am thinking about has a parallel with Apple Music or Uber and is, of course, rooted in the surge of streaming platforms. Now, I am not a conspiracy theorist, but please hear me out.
The Streaming Lords: A Journey into Media’s New Power Structure
In this week’s edition of altmedia, we’re embarking on a journey into the realm of The Streaming Lords: A Journey into Media’s New Power Structure. From the dominance of streaming platforms to AI’s seismic impact on content creation, we’ll uncover how technology, innovation, and shifting consumer habits are redrawing the boundaries of the media landscape. This isn’t just a story of disruption—it’s about the power struggle, the opportunities, and the new empires emerging from the chaos. Discover how creators, companies, and audiences are navigating this transformation and deciding whether to adapt, thrive, or be left behind in the kingdom of The Streaming Lords.
But behind this transformation lies a hidden toll—the human cost.
Freelancers, the lifeblood of creative industries, are grappling with dwindling opportunities, job instability, and an uncertain future. This story isn’t just about disruption and power—it’s about survival in a rapidly changing world. Join us as we explore how creators, companies, and audiences are navigating this upheaval and what it means for the people who keep the media machine running.
The Coming Storm
“The Coming Storm” is a BBC Radio 4 podcast series hosted by journalist Gabriel Gatehouse. The series delves into the origins and impact of conspiracy theories in the United States, particularly focusing on the events leading up to the January 6th Capitol insurrection. Season 2 looks at the idea of The Network State, a concept where online communities evolve into decentralized, digitally coordinated societies with shared values, often leveraging blockchain technology for governance and economy. Early examples include Ethereum, which functions as more than a cryptocurrency, enabling decentralized applications and governance, and Bitnation, offering blockchain-based citizenship and governance services. These entities challenge traditional state models by creating borderless, purpose-driven communities that operate beyond geographic constraints.
Deeper Network States
Deeper Network States are communities that transcend digital coordination to establish physical, geographic presence aligned with their shared values and goals. Examples include:
1. Seasteading Institute: This movement aims to create floating city-states in international waters, offering governance independent of traditional nations.
2. Liberland: A micronation established on unclaimed land between Croatia and Serbia, promoting libertarian values and cryptocurrency-based governance.
3. Prospera (Honduras): A semi-autonomous charter city on Roatán Island, built to attract global entrepreneurs with streamlined governance and economic freedom.
Disruptors: The Sub Text
There’s a compelling subtext here: the rise of new political movements as disruptors, championing deregulation, breaking free from state control, and taking charge of personal finances. While these are often seen as alt-right agendas, let’s be clear—they are equally the agendas of big business.
Take Apple, for instance. While operating within the system, they spearheaded the disruption of the music industry, shifting power away from labels and artists. They built a curated ecosystem—a feudal-like structure—where developers were granted “fiefdoms” under Apple’s rule, with the company imposing its own “tax” on all sales and maintaining tight control over content. Their exclusive devices worked seamlessly together but locked out third-party hardware unless it was granted a fiefdom of its own or acquired outright by Apple’s overlords.
And Apple is far from alone. Enter Netflix, another disruptor that reshaped the entertainment industry. Both companies exemplify how modern corporations wield disruption not just to innovate but to consolidate power, control ecosystems, and dominate their domains.
Netflix as a Nation Streamer
Netflix is a prime example of a disruptor and fits neatly into the framework of Techno-Feudalism, earning the title of a “Nation Streamer” for several reasons:
Disruption in the Media Landscape
1. Breaking Traditional Models: Netflix upended the linear broadcasting model by pioneering the subscription-based streaming model. It bypassed traditional TV networks and cable providers, giving direct access to consumers.
2. Original Content Dominance: By investing heavily in original programming, Netflix reduced reliance on legacy studios, creating a self-sufficient content ecosystem that rivals Hollywood’s traditional studio system.
3. Global Reach: With tailored content for international markets like Squid Game and Money Heist, Netflix disrupted the dominance of Western-centric media and became a cultural force across the globe.
Techno-Feudalism and Nation Streamer
Netflix embodies the characteristics of Techno-Feudalism through:
1. Centralized Control: Like a feudal overlord, Netflix operates a closed ecosystem where it controls not only distribution but also the production pipeline, determining what gets made and how it’s consumed.
2. Subscription Ties: Subscribers are tethered to Netflix’s “fiefdom,” paying a recurring fee for access to its curated content library, effectively making consumers “tenants” in its digital domain.
3. Data as Power: Netflix wields immense power through its collection and analysis of user data. This data shapes its production choices, marketing, and personalized recommendations, reinforcing its dominance.
4. Global Cultural Influence: Much like a nation, Netflix exports its values, culture, and soft power through content, shaping global narratives and creating a shared cultural lexicon.
The Age of the Techno Nation
Anyone drawn to the dystopian narratives of 1984, The Maze Runner, The Hunger Games, or The Handmaid’s Tale (did you see the picture below?) must feel a chill of recognition. Picture the inauguration, with the leaders of Meta, Amazon, and Musk Inc. sitting in the front row—a scene that could easily belong in a film where the proletariat struggle for survival and entertainment under the watchful gaze of the overlords.
The freelance community, of which I am part, is already fighting—fighting for our careers, our livelihoods, and our dignity. We’re caught in a bind: taxed and regulated by the states in which we live, yet excluded from the freedoms of the emerging Network Nations. These new techno-feudal systems reward allegiance to their ecosystems while driving down rates, forcing small creators to cut staff or turn to AI to survive.
Does this sound far-fetched? Consider this: streamers are not regulated in the UK like traditional broadcasters. They operate beyond the barriers of international borders, extracting subscriptions while paying minimal taxes in any country. For creators, joining the club often means surrendering the intellectual property of their projects entirely.
Now, do you still think they don’t deserve the title Nation Streamer?
Nations and Regions: A Word
Some of you may have followed my comments or the excellent work of Peter Strachan, who has been drawing attention to the frankly outrageous “gamification” of the commissioning process at the BBC and Channel 4. Both organizations are bound by charter to commission a percentage of shows from the Nations and Regions—Scotland, Wales, and Northern Ireland. These areas contribute through license fees, and it naturally follows that their viewers and workers should benefit from commissions that proportionally reflect their contribution.
Take The Traitors as an example. While the show is shot in Scotland and qualifies as a regional commission, of the 18 runners working on the production, only 2 live in Scotland. This raises serious questions about how “regional commissioning” is being defined and executed.
You can read Peter’s insightful thoughts on this matter on LinkedIn.
Thanks for reading this week’s edition of altmedia. As always, feel free to share your thoughts and join the conversation. Until next time, stay creative and stay informed.
Editor alt.Media
Graphics created using AI tools and CC-licensed images
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