The Real Winners in the Streaming and Webcasting Wars

Myths, Dangers and Sustainability

There is little doubt that streaming content over the internet has changed the face of media, in fact of all the arts and entertainment community, drastically, intuitively and forever.  Streaming services such as Netflix, Hulu, Amazon Video, as well as broadcast and content sharing platforms such YouTube and Vimeo, have altered not only the way media is distributed, but how and by whom it is produced.

With almost every cable network or broadcaster having a significant presence on one or more of these services, as well as the trend toward creating individual streaming or web casting apps, there can be no doubt that the Internet is the broadcast media of today and tomorrow.

Combined with the way more consumers are watching media, listening to music and even purchasing goods and services, it would seem that web streaming is going to revolutionize the arts and entertainment industry in ways yet to be discovered.

But, it is sustainable?  That is a question that is being asked more today than ever in the early days of this digital content revolution. 

Even as media giant and entertainment mega-corporation Walt Disney set to jump on board the digital streaming band wagon, the relative lackluster performance of services such as CBS All Access and the DC Universe streaming app, as well as the notable losses that individual apps are already causing in streaming giants such as Netflix, it would seem that the question of long term stability and sustainability is the most important question, if the technology and its applications are to be mainstays of the industry someday.

What do the losses and trends say about this?  Well, it would seem that we must look to the entirety of this century-plus- old industry to learn what will be needed to carry the streaming content craze to its next phase. 

First, we must examine some ideas that are long known and little studied, such as the most unreliable source of revenue for media producers and distributors, which has always been that from the media consumer individually.  Media consumption patterns do not consistently match consumer spending patterns or economic health.  In fact, it is arguable that downturns in economic health often create a greater demand for media content, which, due to the circumstances, cannot be afforded by media consumers.  Because specific general health, staple and lifestyle are prioritized by the mass of consumers, these often become the most reliable and long tern providers of revenues.  Soap and food products have been the longest and most stable sources of funding for media producers and distributors. 

The only successful content media delivery and content production service to rely directly on media consumers has been the Cable TV industry, which in no small part is due to streaming and Internet content providers failing through attrition.  While this industry flourished in its early days due in large part due to its ability to deliver greater quantities of varied content directly and reliably to consumers, it’s reliance on these consumers for revenue has led to greater competition and the reliability of the Internet has become more sustainable.  It has also seen greater competition from within its ranks as many Cable TV stations and Channels are jumping headlong into the streaming game, and some streaming services have consolidated their services and agreements with content producers to form ad hoc cable services such as the Hulu Live Streaming Service, which is arguably a direct challenge to cable TV providers.

In this way, streaming underdog Hulu, through this latest Hulu Live venture, may be ahead of the curve.  This lead can only remain or become a viable avenue for other services if content producers and broadcast distributors remain committed to such a radically “mundane” model.  While prudence might dictate this, it requires a commitment to the tenants that have made media casting successful for a century, and in acceptance that it is counter intuitive to dry up the individual financial wells of consumers. 

Because Cable TV was in and of itself a single service based industry, it is easily the first target in the streaming wars of this decade.

To produce a multi-tiered and sustainable content creation and delivery mechanism using the internet, it is necessary to look to the earliest models of broadcast and content production to recreate the fervor that has been longest sustained through Depression, Recovery, Recession, and Prosperity in full measure.

Understanding that the media consumer is the least reliable revenue source, and that staple providers and other commercial entities are the most stable and sustainable sources of revenue, they are a mainstay of the industry that has long withstood the changing technologies.  These advantages are already, in fact, built into the Internet and its wide range of services.  Youtubers, for example, rely heavily on ad revenue to produce content and to distribute it. 

Hulu, hase even its paid Hulu Live service, which relies heavily on ad based revenue to off-set the need for higher rates that would force it to compete directly with long established cable TV providers. 

Even cable TV providers knew that this kind of revenue was needed if long term stability was going to be created, thus as cable prices often fluctuated in their 50 year run as the top of the entertainment distribution food chain, advertising revenues remained a staple of stability. 

To see streaming and Internet delivery and production succeed in the long term, it is going to be necessary to reduce the costs to media consumers while increasing the revenues collected to both create and distribute media, and for more than a century, manufacturing, retail and production companies have been the single most sustainable source of funding. 

The answer may be simple, but hard to hear for millennial media execs.  Stop trying to sell already financially strapped consumers, already established as the least viable revenue sources, new media services which promise only to take content away from one service to redistribute them through another, when the answer to the question of long term sustainability is answerable by studying the history of the industry more closely and seeing what has been plain for a century:  Sell advertising to those whose products, services and creations are viewed as necessary and whose sales are inevitable, whose concerns are not for survival of a product but for achievement of greater market shares. 

This is the way from which new media content can be best produced, distributed and profited.  It is the way to a sustainable streaming and webcasting industry that will last as long as the top 3 true broadcasting companies, ABC, CBS and NBC.  It has been their market strategy from inception and even amidst cable TV intrusion, it sustained the industry.  

Just an observation from a guy not any brighter than you!

Creating, Chronicling and Crafting Words

Understanding Facts, Fictions, Truths and Tomes 

     To understand the complex dynamics of writing fiction, journaling current events or becoming a writer, an understanding of words seems a good start.  In any case, understanding of a few select words is a must for the writer. 

     First, the word truth is an important part of any writer’s vocabulary.  Truth, simply put, is a set of circumstances in which events unfold in predictable ways.  Truth is most commonly thought to be universal, and its implications are certainly widely shared, but truth cannot be reliably consistent within the given context, as it is very much subject to the perceptions of individuals within this context.  For this reason, one often hears the phrase, “to tell your truth.”  Truth can most often be defined as the specific honest perceptions and reaction of individuals within a specified context.  This is most often the purview of the fiction writer, as it is only the fiction writer that can alter the specified context to establish the predictable outcomes of situations through often differing perspectives of characters.

     Fact is yet another vital part of a writer’s tool box.  Facts are circumstances that are above reproach and beyond interpretation.  They establish a baseline against which truths and perceptions, as well as outcomes can be measured.  Fact is also a perspective, but it is most often a generic and more objective perspective, which can seldom be negated by individual perspective.  Fact is the omniscient third person logical perspective, most often captured by video, audio or through the amalgamation of individual truths which are interpreted by finding points of consistency.  Fact is most typically and properly in the dominion of journalists and news reporters.  Journalists who chronicle fact, often find it easy to establish trust with readers and observers, as facts are rarely able to be dismissed as maters of perspective, opinion or bias. 

     While fact and truth can complement one another, and do often, they can also conflict with one another as well.  A limited perspective of events may provide a truthful accounting that does not include all of the facts of a circumstance.  Similarly, a factual accounting of any circumstance may often negate the emotional, spatial or contextual truth of the same situation.  These ambiguities are relevant in many cases of journalistic reporting or even fiction development, as in order to establish a story of interest to readers, one must produce the most complete chronicle of events.  If the purpose of a chronicle is merely to inform, then it is likely that fact will be of greater import.  If the purpose of the chronicle is to move or convince or to elicit, in the case of fiction writing, the voluntary suspension of disbelief, then it is most beneficiary to have a truthful perspective that is easily relatable. 

 While the words fact and truth are often seen by casual observers as the same, they are not.

     A question in today’s journalistic community that is most often wrestled with is, “What is spin?” 

Spin by the most comprehensive and simple definition is the argument of truth to influence the outward reaction to a set of facts.  When done properly, spin should never oppose facts, and should always be derived from a position of truth. 

     As an example, if four people are seated at a perfectly square table, and a glass of water is placed on the table, spin is the art of reaching a consensus of all those seated that the glass has been placed truthfully as it is perceived from one person.  If the water is placed in front of one person, that person may perceive the water as being at the “front” of the table, while the person seated opposite them might perceive the glass as to the “back” of the table.  The person seated to the left, might perceive the glass as being to his or her right, while the person to the right will likely perceive the truth of the glass’s position to be to their left.  All are correct in their assessment of truth.  In fact, all that might be logically and objectively observed is that the glass of water has been placed on the table.  If one wished to reach a consensus that the water was in the position that one perceived it at, instead of the less specific fact, one would argue or “spin” the truth to convince the others of such a perspective.  

     One might argue that because the water was further from the opposite side, and because right and left are obviously subjective, that the most logical statement of position is that the glass is, in fact, right in front of one’s self, and thus might imply ownership of the glass or its contents.   While said argument is logically based in a truth, and does not contradict the fact, its implications may not be sound, but cannot be denied if agreed upon. 

     When a writer creates a fictional world and populates it with fictional characters and creatures, it is most often observed that these stories are best received by readers when creatures and characters act and react in logically predictable ways based upon circumstances that unfold in a truthful way.  In these cases, the facts of each circumstance are subject to the will of the creative writer who is creating the environment.  The truths however, must be honest reactions based in the most universal truths of the readers.  The more universal the truths, the more popular the story can be.  Love, discovery, ambition, and survival for instance are common literary themes that elicit very predicable sets of behavior and thus are seen as universal in their appeal.  In stark juxtaposition are themes such as satirical, political or socio-economic commentary.  While such intrigues are common place, the circumstances of each are often rooted in the collective moment, and while each tale might find popularity, they might find it difficult to remain relevant to future readers.  There are always exceptions to such, as stories that touch on the base emotional tones, while unfolding sociological circumstances can become staples of popular imagination, such as the case of many Charles Dickens stories. 

     As a writer, the most important thing to retain about these distinct words is that they are not the same.  That each of these words drives a story in a specific direction and once that direction is established, a faithful follow through to the inevitable outcome is essential.  If a journalist relies too heavily upon truth, rather than evidentiary act, then a news story will provoke emotional and often irrational responses that are either intentionally or unintentionally the result of bias and perspective.  If a fiction writer gets bogged down in the mire of historical or scientific fact, then inevitably their story might suffer from a lack of relatable characters or a mundane story-line, which will likely be detrimental to the tale or to the reader experience.  For this reason, it is particularly important that writers craft their works with a complete and full understanding of these tools, and their use, as well as an understanding of how they interact and can best serve the desired outcome of the written work.

     Now that we have established some fundamental guidelines, go forth and tell the truth, be it in fact or fiction, it will set your stories free! 

Indiecon 2019 is Coming to Melbourne Florida

A Model Of Creativity From Book Covers to Acting With John Antorino on t...

Time to get your Cover Model on with John Antorino! Host GW Pomichter talks with John Antorino during the Book Obsessed Babes Author Signing Event in St. Augustine Florida to find out how he got into modeling for book covers & magazines, his acting career, including upcoming starring role in A Cup Full of Crazy and more! Take a moment and come Hang With us!

The Hangin With Web Show is sending out a SPECIAL THANKS to our friends & partners who help support the show and the fabulous creators we bring to the limelight, including Taira Wilds host of BOBASE, Yvonne Mason the lovely host of Off The Chain, Space Coast Comixx, Famous Faces & Funnies, Radio.com, Celestial Healings, Coggler Emporium, Krypton Radio, JBauerArt and Foxwood Wine Company…you guys rock!

We're The Internet's Hottest Youtube Talk Show: The Hangin With Web Show...

Unboxing the Indie Comics with Indie Advocate Rob Andersin: an interview...

Let’s meet the Indie Advocate of comics! Host GW Pomichter talks with Rob Andersin during Central Florida Comic Con to find out more about The Real Mr Andersin, his participation in Comics in the Classroom, creating comics, including Jaxx and the ConKids and supporting others in the comic industry….grab your smile and come Hang With us!

The Hangin With Web Show wants to say THANK YOU to our partners and friends who help support the show, including Ben Penrod of CFCC, SomeN’Unique Magazine, Krypton Radio, Rick Shea and the gloriously geeky crew at Famous Faces & Funnies, Yvonne Mason with Off The Chain, Jake Estrada “The Man” behind Space Coast Comixx, Radio.com, Pound the Grape, JBauerArt, Celestial Healings and the 2019 Brevard Renaissance Fair…you guys rock!

Acoustic Duo "Krashes Kitchens" for #FREE Concerts every week: #KitchenKillaz #LiveAt905

The KitchenKillaz are a touring acoustic duo crashing kitchens around the country, bringing music, laughs and fun and sharing the experience with a LIVE Internet audience.
FRIDAYs at 9:05 p.m. the KitchenKillaz are performing around the state of Florida and you are invited to be in the audience FREE of charge!!

That's right, all you need to attend is a mobile device, laptop or desktop, of just your TV with a smart speaker set up, like AppleTV, Roku, or Amazon Fire.  Just go to wherever you watch Facebook Videos and search "Billy Floyd"  Choose Billy Floyd from the list and start watching.  It is that easy.

Like the acoustic duo's Facebook Page and follow them and get notified each Friday night when they go live with a new show from a new kitchen.

Join in the chat and be a part of a growing community filled with great friends and welcoming to everyone.  Put your troubles away fro 1 hour each and every Friday night in the comfort of your own home, from the road, or where ever you might be, and enjoy some great music, food, friendship and fun. 

YOU can enjoy the show FREE Live HERE tonight and in fact, you can join in on social media every Friday Night at 9:05 p.m. #LiveAt905

LINKS:

https://www.facebook.com/billyfloydmusic/videos/10213599789489403/ 

https://www.facebook.com/kitchenkillaz/