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    Television

    July 10, 2008

    Foreign TV crews cleared to broadcast live news from Beijing

    Starbucks Yuanyang Tiandi

    Listening to the rumble

    1347 hrs.

    Geoffrey Fowler at The Wall Street Journal looks like he scooped just about everybody, reporting that foreign TV crews would be allowed to uplink their news coverage of Beijing directly to satellite during the Olympics. Olympic broadcasters are even allowed to broadcast directly from Tiananmen Square, the political and spiritual heart of the city that is miles away from the venues.

    On the one hand, this is a big deal, probably the first time foreigners have been permitted to uplink TV signals directly from Beijing for almost two decades.

    Two thoughts jump quickly to mind:

    First, I think we can be pretty sure that security around Tiananmen Square and similar venues will be even tighter than normal. I foresee lots of crew-cut lads in sweats mixing in with the crowds.

    Second, I wonder how much of this concession was driven by growing broadcaster frustration over the hassles getting facilities in and around the Olympic Green ready for the big show? "Gee, we're sorry about the logistics stuff. Oh, by the way, NBC, you can set up your broadcast booth in Arrow Gate if you want..."

    Just bummed I won't be able to see the NBC coverage here in Beijing...

    April 15, 2008

    Cable TV in China: Invest Elsewhere

    In the Hutong
    Yes, dear, toast is dinner
    1938 hrs.

    Earlier this month, I was honored to sit on a panel on the future of China's cable television industry sponsored by the American Chamber of Commerce, joined by my friend Kris Kender from CMM Intelligence (the guys who publish the China Media Yearbook & Directory), Leo Austin of Augus Partners, and Tao Libao of China Multimedia Networks. The panel was expertly guided by Jeremy Goldkorn of Danwei.org.

    139 Million What? I'd Like Some of That...

    On the minds of many of the people in our audience was when and how it would be possible for foreign companies to make some money on the 139 million cable TV subscribers (that's households, not people) in China.

    The hopes of the industry are pinned upon some valid commercial and economic truths:

    - After nearly two decades of development, cable TV in China is little more than basic cable, a depressing collection of 40 or so look-alike channels with content that is occasionally superb but more commonly mediocre;

    - Cable operators make a pittance - maybe RMB 14 per month per subscriber on average;

    - Getting cable operators out of this low-end rut means adding more and better programs, new channels, more services, and putting in the systems that will allow operators to charge for them;

    - The country (i.e., the nation's cable operators, taken collectively) has invested billions of dollars on fiber-optic and cable networks, and would clearly want to get the most economic value out of all of that wiring;

    - Chinese people love home entertainment.

    All of this would seem to spell endless opportunity for companies, both foreign and domestic, seeking to make fortunes selling networking equipment, head-ends, set-top boxes, software, expertise, and even programming to China's cable industry.

    Funny, It Didn't LOOK Like a Mirage

    There is only one problem:

    Cable TV in China is not an industry.

    At best, it is a highly regulated utility.

    At worst, it is a technological laboratory for engineers.

    Chinese law and policy state emphatically that foreigners cannot own or control cable TV stations or channels - that is reserved of Chinese organizations, and only those so authorized by the State Administration for Radio, Film, and Television (SARFT).

    Some of the world's largest media organizations - News Corp. and Viacom not least among them - have repeatedly attempted to work around the letter of the law, only to find themselves each time face-to-face with the law's intent in the form of agitated, vengeful aparatchiks.

    The vast majority of the air time and cable bandwidth available to the operators remains unfilled, hampered by party-enforced restrictions on the local creation of programs and import of content. And value-added services? Cable is rapidly losing out to the Internet and mobile.

    Indeed, with operators eking out an operational living from the narrow, shallow stream of subscription revenues and their shares of advertising, they can barely contemplate investing in the network upgrades that would enable them to provide the premium content and value-added services that not only don't exist, but are unlikely to leap into existence as long as the industry is constrained from taking outside investment.

    Are there experiments taking place in high-definition television, IPTV, digital, and premium channels? Sure. But these experiments and others like them have been going on for over a decade. And the government seems content to allow experiments to continue, but commercial rollouts have yet to happen.

    There is more to it, of course, but that's the gist.

    The painful consensus of the panel was that among the multitude of Chinese national treasures we evil foreigners want to get our claws into, the cable TV business is not only among the least accessible, it is also among the least appealing.

    Jeremy Goldkorn asked me if I had money to invest in cable television in China, what would I invest in. I wasn't much of a sport. I told the truth: if I had money to invest, the last place in China I would invest it is cable TV.

    The End of Cable

    Cable television will continue to lumber along for some time in the future, for a couple of reasons. First, the growing appetite for television advertising time - ANY television advertising time - will ensure that revenues continue to pace economic growth. Second, China's urbanization plays right into the hands of cable operators, although returns will decline as they make investments to service the growing urban working class.

    But unless something significant changes about the way the sector is regulated, at some point in the future, things are going to turn ugly for the operators. With no means at their disposal of significantly improving revenue streams or financing the hardware that would enable new revenues, cable will become what radio and terrestrial television are today - lowest common denominator entertainment. It's what everyone will have, but everyone will want more.

    From a macro-policy level, the course of action that makes the most sense, that will allow the country to get the most out of its cable networks and to use them the way they are most needed, is a radical one:

    • Set a basis for fairly valuing the networks.

    • Have the local municipalities and the provinces sell them to the telcos after the anticipated round of telecommunications industry restructuring is complete.

    • Separate out the channel production and advertising sales functions, spinning them into independent entities that will continue to be regulated by SARFT and the Party.

    • Lay out must-carry regulations that ensure that current channels have grandfathered carriage.

    • Let the telcos invest in the networks as both programming delivery and service delivery systems, parallel with other broadband but aimed at consumers who want alacarte services, not raw Internet coming into their TVs.

    Is this a radical solution? You betcha.

    Will it happen tomorrow? No.

    Is this the likely eventual fate of the cable networks? Absolutely.

    March 03, 2008

    Hollywood Icon Comes East

    In the Hutong
    Rolling with the changes
    1842 hrs.

    The Hollywood Reporter, long essential morning reading for the entertainment industry in the United States, Europe, and elsewhere, has had permanent roots in China for a couple of years now, with an official bureau led by Jonathan Landreth. The THR staff have provided a much-needed addition to the coverage of the music, film, television, and new media industries here in China. With occasional exceptions, however, much of the fine reporting coming out of THR in China has been trapped behind a firewall.

    That all changed today, when THR launched The Hollywood Reporter Asia, a website that not only allows us to see the superb coverage coming out Jonathan and his team here in China, but also regional and global industry news. One other thing I really like about THR-Asia is that it is edited right here in Beijing, underscoring Beijing's growing role as the media center of the region.

    Give it a look. Personally I'm adding it to Danwei.org as part of my daily routine. If I have one quibble, it is the lack of an RSS feed, but I understand that with THR offering their content for free, they want you in the site for the ads. A small price to pay.

    Picture 2

    January 08, 2008

    Telegraph: The Video Clampdown

    In the Hutong
    Seeking a sore throat remedy
    2041 hrs.

    Richard Spencer, fresh back from holidays, writes in the Telegraph about the new rules requiring websites offering video content to obtain a license.

    He quotes me, but quite apart from that, his take is spot on - anyone who expects the government to swoop in and start closing down these sites is probably missing the point. Most of these sites are self-regulating already. Tudou and its kin were screening videos for content prior to posting from the beginning, and self-regulation extends beyond the frontiers: even Yahoo! won't let me watch a video on their English site from here in the Hutong.

    China Securities News are quoted as saying that the government's main concern is keeping control over professionally produced films.

    If you buy that - and I don't - there is a little problem: at what point can you determine if a film on Tudou or YouTube is professionally produced, or just created by a really talented amateur?

    Here's my take:

    China Central Television (CCTV) and the other state broadcasters have looked around the world and are worried. They see other broadcasters losing young viewers to user generated television. The Chinese broadcasters want to avoid that fate. They had no intention of losing their franchises to Sumner Redstone and Rupert Murdoch, and they're certainly not going to roll over and let programming created by a bunch of amateurs with camcorders and mobile phones take their business away.

    So they turn to regulators for help.

    The policy makers, however, are not of a single mind - an issue in a system of government that depends increasingly on consensus create and enforce the law. To be sure, the broadcasters do not lack for support, but there is a growing group who are either privately tired of coddling China's weak broadcasters, who see the Internet as the more important medium for the future, or both. They aren't so quick to leap to CCTV's aid, and want to see China turn into an influential power on the Internet.

    So they come up with a policy that ensures they have the tools to maintain control, and that assures broadcasters that the government is ready to protect their monopoly over commercial broadcast content.

    And then they sit back and watch and see what happens.

    What the new regulations do is reiterate what is already government policy, and they leave room to allow the experiment to continue uninterrupted.

    Investors are going to be wary for a time - this adds a level of uncertainty into the process that won't go away, but eventually they'll get comfortable again.

    This does, however, serve as a dual reminder: these sites prosper not only at the whim of the government, but under the threat of a jealous broadcast sector with strong support in the party.

    Telegraph: The Video Clampdown

    In the Hutong
    Seeking a sore throat remedy
    2041 hrs.

    Richard Spencer, fresh back from holidays, writes in the Telegraph about the new rules requiring websites offering video content to obtain a license.

    He quotes me, but quite apart from that, his take is spot on - anyone who expects the government to swoop in and start closing down these sites is probably missing the point. Most of these sites are self-regulating already. Tudou and its kin were screening videos for content prior to posting from the beginning, and self-regulation extends beyond the frontiers: even Yahoo! won't let me watch a video on their English site from here in the Hutong.

    China Securities News are quoted as saying that the government's main concern is keeping control over professionally produced films.

    If you buy that - and I don't - there is a little problem: at what point can you determine if a film on Tudou or YouTube is professionally produced, or just created by a really talented amateur?

    Here's my take:

    China Central Television (CCTV) and the other state broadcasters have looked around the world and are worried. They see other broadcasters losing young viewers to user generated television. The Chinese broadcasters want to avoid that fate. They had no intention of losing their franchises to Sumner Redstone and Rupert Murdoch, and they're certainly not going to roll over and let programming created by a bunch of amateurs with camcorders and mobile phones take their business away.

    So they turn to regulators for help.

    The policy makers, however, are not of a single mind (which is a little bit of a problem a system of government that depends increasingly on consensus create and enforce the law.) To be sure, the broadcasters do not lack for support, but there is a growing group who are either privately tired of coddling China's weak broadcasters, who see the Internet as the more important medium for the future, or both. They aren't so quick to leap to CCTV's aid, and want to see China turn into an influential power on the Internet.

    So they come up with a policy that ensures they have the tools to maintain control, and that assures broadcasters that the government is ready to protect their monopoly over commercial broadcast content.

    And then they sit back and watch and see what happens.

    What the new regulations do is reiterate what is already government policy, and they leave room to allow the experiment to continue uninterrupted.

    Investors are going to be wary for a time - this adds a level of uncertainty into the process that won't go away, but eventually they'll get comfortable again.

    This does, however, serve as a dual reminder: these sites prosper not only at the whim of the government, but under the threat of a jealous broadcast sector with strong support in the party.

    December 27, 2007

    Maybe the difference is Star Trek

    In the Hutong
    Damn if winter isn't finally here
    2104 hrs.

    In June of this year, Wil Wheaton, who played the teenage nerd-cum-Starfleet officer Wesley Crusher in the science-fiction television series Star Trek: The Next Generation, spoke at a ceremony to induct the late Star Trek creator Gene Roddenberry into the Science Fiction hall of fame.

    Whatever your personal feelings about Wil, Wesley, Star Trek, or the citizens of Trek Nation, you have to give credit to Wheaton for hitting what made Star Trek the single most successful science fiction franchise ever (40 years, 11 motion pictures, 5 separate TV shows, and so many books, magazines, stories, conventions, clubs, and fans that they defy counting).

    Ensign Crusher Speaks

    What struck me was how he captured both the lure and the powerful socio-political value of science fiction as a genre:

    "There are countless examples here of the real power that science fiction has to address current events in a way that's safe and acceptable for most audiences, while speaking very seriously about them to those who look beyond the spaceships and rayguns to the ideas behind the stories. Whether it was written one hundred years ago or just published last month, science fiction can give us warnings about the future, hope for the future, or just blissful escape into the future, visiting fantastic worlds that are light-years away – and as close as our bookshelves and televisions."

    He then put the 1966 premiere of the original show into its historical context - a nation falling deeper into a war it didn't understand, locked with another rival in a staredown contest with civilization at stake, while the country tore itself apart at home. He then explained what the show did - something the suits at NBC did not expect:

    It wasn't a particularly optimistic period for our nation, and there wasn't all that much going on to feel good about. Then, on September 8, 1966, a new show debuted. The network thought they were buying ‘Wagon Train to the stars,' but just two commercial breaks into the show, it was clear that this was something new and different. As episodes aired over the following weeks and months, it was undeniable that this show, set in the future but reflecting so much of the contemporary world, was breaking new ground each week. Like all great science fiction, it held up a mirror and showed us our failings and triumphs – not by beating us over the head with a message, but by making that message easy enough to discover for those who cared to see it. Star Trek dared to do this during an incredibly turbulent time, when it was risky to even acknowledge that the mirror existed, much less hold it up on network television.


    Popular science fiction in America found its birth during the nation's most desperate hour - the Great Depression - and has seemed to be most robust when the times have been the most confusing. The genre is infused not so much by powerful optimism as it is a literary haven allowing us to ponder our fears without wallowing in them. What comes out is a belief that the future is ours to create.

    Boldly Going

    As an avid fan of science fiction and China, it has been a lot of fun watching the growth of Chinese science fiction. There are a half-dozen magazines, probably a half-million hardcore fans, and a growing interest in the genre.

    But political overtones are tough to avoid, and a lot of science fiction is a allegorical social critique. In "Sci-Fi Ascendant" in the September 2006 edition of Seed magazine, Mara Hvistendahl wrote:

    But this tendency to propose new ways of living—what James Gunn, director of the Center for the Study of Science Fiction at the University of Kansas, calls an "inherent critique of society"—means that the genre's position could still be somewhat tenuous in China. Certain subject matter is off-limits; one of Gunn's novels was translated into Chinese but couldn't be published because it dealt with student protests. The censors have reason to be wary: Much of Chinese science fiction has been inspired by political events, from the Cultural Revolution to the 1978 Democracy Wall to the Tiananmen Square protests.

    None of which means that the growth of science fiction in China will slow - on the contrary, I suspect writers will simply use more care in their words. If the Science Fiction World website and the links from it are any indication, there is a lot going on.

    But unlike the US, what I suspect will drive interest in science fiction in China will not be film or television, but games.

    If you've ever played a game - I mean, really played it to the point where it begins to intrude on the edges of your reality - you find that it begs to be explored in other ways. Books, stories, fan fiction, illustrations, manga, and even the funky new art of machinima (stories told in the context of a game, and recorded as animated shorts - check out Red vs. Blue) grow from such immersion, and have this remarkable tendency to lead one off to explore other areas of "speculative fiction."

    Watch what happens when Blizzard drops World of Starcraft II into the gaming world in the coming months. I suspect that will bump Chinese science fiction up another notch.

    I don't see the next Star Trek movie making it into China, though. Here in China, the underlying messages of Trek, Star Wars, and much of the western science fiction canon would likely be considered borderline subversive.

    November 21, 2007

    eKarma: Have a little Virus, Pirates

    Third Ring Road East
    Breathing deep the inversion layer
    1022 hrs.

    Steven Schwankert of Village Grouch fame wrote an excellent piece for IDG (picked up here in The Washington Post) describing how Chinese fans seeking to download illegal copies of Ang Lee's excellent film "Lust, Caution" are finding on their hard drives not a copy of the film, but with software that pops a nasty little trojan virus into their systems.

    There are several interesting aspects to this story.

    Virus? What Virus?

    First, it was apparently found and addressed by Kaspersky Lab and Rising Software well before it came up on the collective radar screens of Symantec, McAfee, and TrendMicro. One wonders why this is the case, particularly given that Symantec and McAfee tout the value of their software in part based on their global scanning for viral threats. I am especially concerned about TrendMicro, who have a huge presence in China and who make a great deal about their expertise as an "Asian" security company.

    It also suggests that the malware threat in China is growing and diversifying. From dorm rooms filled with budding software engineers, to the challenges facing the country's law enforcement teams, to the quiet but rapid growth of China's cyberwar military-industrial complex, the country has become as much a haven and spawning ground for creators and distributors of Malware as the United States or any other country. This would seem to argue for greater investment by the computer security vendors in local labs who can not only find but anticipate new threats.

    As an aside, it would also seem that companies like Symantec are destined to become major defense contractors. But we digress.

    The Empire Strikes Back

    Second, it seems that Hollywood (including the music and TV people as well as the film side of the business) and the software industry may have inadvertently discovered a way to slow online piracy and perhaps even the growth of downloaded content. All the studios - or, better yet, the MPA and the Business Software Alliance - need to do is hire a few good hackers to come up with some particularly nasty viruses and spread them around online disguised as illegitimate digital copies of random applications, movies, and music files.

    Sure, the viruses would not deter the most determined or careful downloaders, and the anti-virus companies would inevitably come up with fixes. But imagine, for a moment, the fear, uncertainty, and doubt this would wreak among the less-expert. The mere possibility that these files would include viruses would be enough to drive a lot of marginal downloaders away from illegitimate downloading (and probably a few away from legit downloads as well).

    Naturally I would expect clearer heads in the PR and legal departments of these organizations to prevail, ensuring that neither Hollywood nor the software industry would ever actually subsidize - or even publicly condone such practices. But you can easily imagine how such an option must tempt some people in places like Redmond and in the Black Tower.

    Indeed, if the matter of digital rights management has proven anything, it has proven that Hollywood and many large software concerns believe that extremism in the defense of intellectual property is no vice, and that goodwill is readily sacrificed in that battle. If anything will keep hackers from high-powered lunches at the Ivy or the Fulton Fish market, it is the fear of court costs.

    Nonetheless, it is fascinating, if not a bit disconcerting, to think that there is a commonality of interest between the creators of malware and the creators of movies.

    Engineer, Engage the FUD Pump

    What I do expect is that the IPR-driven industries will kick into gear a semi-coordinated propaganda effort to ensure that stories like the "Lust, Caution" become as widely known as possible, so that the threat is seen as being far larger and more serious than it really is. This costs them little, supports their goals magnificently, and enables the studios and developers to position themselves as defenders of the public interest.

    Which, frankly, is the smarter way to handle it. You steal, you pay. Or, you pay, we protect.

    For all the failings implicit in Hollywood's approaches to the IPR issue and digital entertainment, let's not lose sight of the most important fact - downloading illegal files is theft, theft is wrong, and anyone who does so willfully probably deserves a hard drive filled with malware.

    July 31, 2007

    The Dawn of The Age of Disposable Video

    The Silicon Hutong Room, Wynn Las Vegas Hotel
    Looking out over the lights of the insomnia capital of the world
    0037 hrs.

    I know it sounds like a really bad Kodak commercial, but there really are moments in your life that you wish you could capture and just hold. This is one of them.

    My wife and son are sleeping - quietly for the most part, but occasionally the room resounds to the sound of rhinological rhythm - and the lights are out, but the room is lit by the screen of my MacBook Pro and the ambient light filtering in through windows that make up an entire wall of our generously-sized room at Wynn Las Vegas. My vista over southern Nevada looks to the northeast, which at this hour is covered by a carpet of mostly orange streetlights, punctuated by the bulk of the Las Vegas Hilton about a half mile away, and the nearer mass of Encore at Wynn, still under construction. The midnight sky is punctuated by occasional flights in and out of McCarran International Airport.

    We're leaving here tomorrow morning, which is not an entirely unpleasant thought: after four days in a city dedicated to serving the baser needs of its guests, all but the most devotedly amoral are in need of an escape and a very long shower. But I love a great cityscape at night - it is one of the things that makes business travel wonderful - and for the moment my 60-degree panorama gives this city a patina of beauty.

    As I said, an amazing moment.

    Speaking of Moments...

    Before we drove out here from LA on Monday, leaving half our luggage at our hotel there to await our return tomorrow, we attended on Sunday night what can without pretense be termed a Hollywood wedding. At an exclusive club perched above the sea in Malibu, with ocean breezes cutting though the heat of an LA summer afternoon, the bride, groom, and most of the attendees were of that class of people who never show up in front of a camera, but who are the invisible generals of the film and television industries. It was an amazing wedding, filled with people who were warm, unpretentious, and who gave lie to the stereotypes and caricatures that for most of us forms our jaundiced view of the entertainment business. With the possible exception of my own nuptials, it was the most fun I can remember having at a wedding.

    it was a memorable evening, and the bride and groom (the latter my cousin) had decided to help remember it by placing at each of the dozen tables something few of us had yet seen - a disposable video camera, capable of filming up to 20 minutes of whatever we decided to put on it.

    Without instructions, each of us took turns recording greetings to the bride and groom, narrating the event, recording whatever struck our fancy before passing it on to somebody else at the table.

    Fire the Videographer

    It took me until much later to realize that beyond the novelty value of getting to play with Pure Digital's new Flip Video disposable camera (out just six weeks), we all had an opportunity to give them something they could not get from the best photographer or videographer: six total hours of footage of their wedding shot by their guests, allowing them to see their own wedding from our eyes, and join each of us at our tables.

    They will be able to enjoy their own wedding from our viewpoint. Forever.

    Talk about completing an experience - your wedding as viewed and experienced by your guests. All for the price of a $30 camera on each table.

    Laying aside for a moment the reality that even at the best wedding, not everything is sweetness and light, this to me is another example of how technology - elegantly applied - can create, enhance, and deepen the experiences we have in our lives.

    If nothing else, it will tempt you to take video where you haven't wanted to take it before out of fear of damaging or destroying an expensive camcorder.

    April 12, 2007

    Shuttleworth Joins Anti-DRM Chorus

    Africa's first astronaut and open source supporter Mark Shuttleworth, the man with the money behind Ubuntu Linux, has added his voice to the growing choir of senior executives calling for the end of digital rights management.

    It is a good piece and worth the read, even if there is not much new.

    Diagnosis Correct. Cure?

    Mark Shuttleworth is a can-do, solutions oriented kind of guy. I greatly admire what he is doing (making Linux, formerly The OS Only A Geek Could Truly Love, into The OS that You Can Love if You Hate Windows But Can't Stomach OS X). Truth is, I've got Ubuntu running alongside OS X on my Macintosh for no better reason than to support what Shuttleworth is doing.

    What I would have expected from someone with his entrepreneurial drive and technical acumen is something more than "DRM sucks - deal with it, entertainment business." I would have hoped he'd at least start to focus on possible ways for artists - and maybe a few entertainment companies - to continue making a living in a world where they're being asked up their last stitch of property protection.

    No Pay, No Play

    Nobody really likes DRM. Nothing pisses me off more, for example, than the fact that all of the DVDs I purchased in Australia are unreadable on my region 1 encoded computers. Note, if you will, that I (or someone) paid full retail price for every DVD I own. I'm fine with not buying pirated DVDs here in China, and I'm even okay with avoiding DVD shops here because you really never know what's legit and what isn't. But I'm pissed off that if I go to an HMV in Hong Kong or Singapore or Japan and buy legit DVDs there, I can't play them.

    But I understand why those things are there. And I also understand that if you walk up to an artist or an entertainment executive and say "look, you need to throw all of your work out into the public domain, like shareware, and put everyone on the honor system to pay for it," they're going to throw you a right hook, and rightfully so.

    Stop the Posturing

    When people get scared - or feel threatened - the automatic reaction is to put the wagons into a circle, or create what the voortrekkers of Shuttleworth's native South Africa once called a laager. The entertainment business is scared. The wagons are in a circle, the lawyers at the ready.

    What needs to happen is for somebody with vision and intelligence to step forward and start talking about transition, a way to put the entertainment industry on a path to wean them from DRM, but at the same time to come up with other stuff that lots of people will pay for around the music, television, film, and other works that are no longer protected.

    There's going to be no silver bullet. It's going to be a lot of different business models in the end, but you aren't going to get from here to there by waving a scary future in the face of everyone in the entertainment industry around the world.

    Great post, Mark. Nice Op-Ed, Steve Jobs. Get DOWN on your bad selves.

    Now, enough with the posturing - and that goes double for the suits at the RIAA and the MPAA. It's time to start building bridges to the future.

    Let's get on it.