What Just happened?
The Quest for Interesting Public Content
From Four to Three
Complexity is Killing
From Public Media back to Public Broadcast
The problem is that YouTube, Twitter, iPad, iPhone, Android, Wikileaks, Huffington Post, didn’t effectively exist when prof. dr. Wim B.H.J. van de Donk and his team were analyzing the media scene in 2005. They couldn’t foresee peer to peer or group publishing. I am one of many who argue that a public media company six years later will fail if it only tries to do things for society. Success comes when you combine it with conversations and productions that are going on from within society. It means content makers who build sustainable conversations will have to integrate relevant social platforms. Some conversations will start on the web and later become a TV show or a game.
Fun gets Funded In the Netherlands, But Factual is Failing
New activities by the public broadcast-production companies like TROS, VARA, BNN etc. are strictly discouraged in the media letter. Broadcasters should stick to making programmes for their respective radio and TV outlets. The web is only for supporting the audio and video productions. Specialist, genre-driven websites will get their broadcast funding cut. If that’s the case the creative innovation will escaped from the public sector in Hilversum for good.
May be that’s the plan?
Channel 4 Model Not BBC.
Some readers of this column has pointed out that I have been using the terms "public broadcasting" and "public production companies" in this article. I think only NOS, NTR, ROOS network, and NPO are public broadcasters in the true sense because they have direct access to the airwaves. NPO commissions content from what have effectively become "public-financed production" companies like VARA, BNN, TROS, etc. NTR looks as though it will get the job of commissioning stuff from the aspirant broadcasters like WNL. I note the Dutch government language in its press statements is all about 6 public production companies. Gradually I think we're moving towards a system not unlike the UK channel 4 construction. This publicly-owned corporation (set up by Margaret Thatcher) has money but no programmes, production companies bid for tenders to fill the clearly defined slots. Production companies like the VARA, TROS which are really large "loyalty schemes" because they have a membership will compete against Endemol for slots. Because this kind of membership system will collapse (why pay an extra 15 euro a year when these memebership organisations are strictly limited in what they can do for their membership), the Dutch government has further marginalized their power and influence in Dutch society.
Amsterdam Creative Capital
I believe a lot of creative expertise has already escaped from Hilversum to Amsterdam. It is true that Endemol, Talpa etc have done a lot to innovate in the game show sector building a world-class reputation in this sector. I see lots of innovation in the games development sector and interface design as well.