Reintroducing scarcity How entertainment can find value amid the growing digital clutter
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20,000 foot view: Games, sports, music, video, audio, and social content all compete not only for consumers’ attention (and money), but also their fandom. However, the oversaturation of content is devaluing entertainment itself, by overly commodifying it.
Entertainment businesses and content providers will need to rethink how to generate better value for audiences, especially if they want to make true fans of those audiences – especially in an environment of recession (both in the global economy and consumer attention).
As we make the transition to web with AI-generated content adding yet more ‘content’ to the clutter, entertainment businesses and content providers must focus on value over volume, tapping into the event-driven cultural cornerstones on which fandom is built, and encouraging a deeper engagement with stories and narrative in attempt to combat the ever-growing doom scroll.
Key insights
The audience side:
- Ever more is being produced faster by platforms to keep consumers from bored and switching to another Rather than drawing in audiences high-value, truly exclusive content, they chasing the hype of the new thing, on a hamster that is going too fast slow down now
- Even with amount of time available through working, a majority of work-from-home workers are women of parenting These workers, in addition to full-time, unpaid carers, which in UK alone numbered around million to last UK census), indicate there is an untapped space for entertainment as a background that can be layered over normal work and make it enjoyable
- The counterbalance the increasingly saturated attention economy digital entertainment is a cultural back to valuing real-life experiences, objects, and authenticity
- If digital is as ubiquitous as water, experiences are what they need stay hydrated for. The two hand in hand, but the touchpoints are what makes the experience worthwhile
The industry side:
- 2022’s web on the opportunity spaces of metaverse, VR, and NFTs, however, true technology disruptor has been emergence of machine-learning artificial intelligence which allows users to auto-generate content at near instantaneous speeds
- As the develops, expect AI to be to generate video clips, and one day, games. While this be a huge boon to creators, it will also cut roles across entertainment in larger that can outsource everything
- Alongside this, automated production will mean more being made faster than ever, will worsen the current attention situation
- Clever ways involving fans in creative challenges, brands and marketers as individuals their own perspectives, and trying generate brand fandom through quality creation and storytelling are all adaptations
- The blurring digital and analogue is opening new spaces for ‘translator’ applications devices, but the digital-native desire engage with the tangible world them seems to spring from discomfort with the existential disassociation to digital-first life x
- Digital entertainment of course, fit in alongside valuable experiences, which are becoming cultural cornerstones around which the propositions are built – but is increasingly important for entertainment to remember that their digital need to be value adds, detractors
Companies and brands mentioned in this report: Apple TV+, BTS, BeReal, Bridgerton, ChatGPT, DALL-E, Decentraland, Disney+, Instagram, OpenAI, Meta, Paramount+, Peacock, Spatial, TikTok