The algorithm method

ChatGPT, a free piece of software launched by artificial intelligence (AI) firm OpenAI in November 2022, generates surprisingly fluid, cohesive text for a chatbot. Simply give it a task – for example, ‘reflect on the future of the media production landscape,’ and within seconds you’ll get the following response: “One possibility is that streaming services will continue to play a significant role in the media production landscape, and there may be further consolidation in the industry as these platforms grow in popularity.”

Not so different from the predictions you’ll find in this issue. The chatbot goes on to discuss the continued importance of diversity and inclusion, virtual and augmented reality and, somewhat cheekily, predicts there may also be “advancements in other areas such as artificial intelligence and machine learning.”

It’s only one “content is king” or “what we’re looking for are great stories” from being the real deal. It could fool me and as more and more people use ChatGPT (as I write this it’s currently “at capacity,” unable to cope with the number of people trying to use it), the tech is only going to become more intelligent.

AI already plays a very active role in our dayto-day lives. We all know about the predictive algorithms that determine everything from your Google searches to your Netflix recommendations. Commissioning decisions are now made with data sourced using AI, though few execs would admit any green light is determined without at least some human intervention. As BBC director general Tim Davie put it, the ambition is to create an algorithm that can offer unrivalled personalisation, without the Beeb becoming wholly algorithmically driven.

AI has already inspired countless films, the latest being horror movie phenomenon M3GAN, while ITV in the UK is about to launch TV’s first deep-fake comedy with Deep Fake Neighbour Wars (6x30’), in which AI technology is used to turn impressionists into the world’s most famous celebrities. Elsewhere, South Park creators Trey Parker and Matt Stone recently landed US$20m to fund their AI entertainment startup Deep Voodoo.

But as debate rages online about AI’s influence on art, ChatGPT’s ability to write scripts currently leaves a lot to be desired. My request for it to write “a Spanish-language TV drama set in both Mexico and the US” resulted in formulaic dialogue for a show titled Fronteras (Borders) in English, which suggests the great non-English-language TV boom has passed the chatbot by.

But then there’s Dramatron, a recently launched script-writing tool developed by Google-owned AI company DeepMind. Not conceived of to be used autonomously, Dramatron is instead described as a ‘co-writing system’ to provide human writers with character and location descriptions, plot points and dialogue for them to edit and re-write. It’s a worrying thought, but with a US writers’ strike looming (see pages 16 to 18), could 2023 be the year AI scripts come of age? Nico Franks

Contents

THE C21 CONTENT BUSINESS TRENDS REPORT: Winter 2022/23

Our quarterly outline of the opportunities and challenges ahead features top analysts on key drivers of change.

What do leading content industry executives think 2023 will bring and what are their priorities for the next 12 months?

Does Amazon’s rescue of Aussie drama Neighbours suggest a trend that will benefit other soaps?

THOUGHT LEADERSHIP: Rodrigo Mazón

The former Netflix exec on bringing his expertise to TelevisaUnivision’s Spanishlanguage service ViX.

AHEAD OF THE CURVE: US writers’ strike As a strike looms, we look at the potential impact on the global business.

NEXT BIG THINGS: Paranormal programming

What are buyers looking for in the increasingly popular paranormal genre?

CONTENT STRATEGIES: Freevee

Amazon’s AVoD platform is after broadappeal content in four particular areas.

CONTENT STRATEGIES: Netflix

The streamer needs more shows that work locally in Europe but can travel.

DEVELOPMENT SLATE: TriForce

Tackling difficult subjects with projects produced by diverse talent.

THREE-YEAR PLAN: PBS Masterpiece

How the US public broadcaster is looking to develop new funding models.

PRESENT IMPERFECT FUTURE TENSE Sarah E Lowe on improving immigrant representation on television.