Web 3.0 is here Navigating the new culture of digital entertainment

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20,000 foot view:  AI has already hit entertainment at the industry level – and the impacts on audience culture will not be far behind. A variety of AI tools are now readily available on ‘fremium’ tiers at a consumer level. Companies may be looking towards what the new world of web        means for them, but they need to prepare for a generation of digital-first consumers who, powered by new creator tools, will evolve new needs and expectations that are significantly different from their current entertainment lives. 

Key insights 

• The funnel of creative talent has broadened, where any audience member with a keen interest in almost any field of entertainment or the arts is now able to try their hand and potentially progress 
       of all consumers spent time creating content every week in        2022, with more than        of all consumers aged        doing so and        peaking at       
• The constant demands now being made of fans to engage with each and every new entertainment feature to appeal to their fandom is approaching the same saturation as attention, and they will undoubtedly become more prominent – especially as AI fakes put ever more pressure on all parties involved
• The concern for creators should be that, especially if fan fatigue becomes more prominent, audiences will be empowered by AI to cut the original creators out of the process entirely, resulting in more ‘deepfake’ hits, like Ghostwriters’ ‘Heart on My Sleeve’ 
• Even without the challenge posed by deepfakes and AI-made imitations, the growing power of creator tools available to casual audiences will prompt a boom of high-quality DIY content 
• The distinction between the content that audiences and fans are making off the cuff, and that which is being more ‘formally’ produced, will continue to shrink at an exponential pace – and audiences may not even mind, as they grow quickly used to the new powers at their fingertips to shape their own consumption experiences 
• Social platforms have an opportunity to tap into this new flood of audience creativity, offering a space for them to create, upload, share, and interact with one another’s’ creations. This will cause it to compete increasingly with more traditional entertainment
• All entertainment companies must stop competing just for more engagement, and start finding their contextual niches in audiences’ lives to compete for the right kind of engagement – that which leads to fandom or some kind of immersive experience

Companies and brands mentioned in this report: Aldi, Amazon Alexa, American Data Privacy Protection Act, Apple Music, Bridgerton, Cyber Resilience Act, DALL-E, Deep Fake Neighbour Wars, Drake, Facebook, Ghostwriter, Holly Herndon, ITV, Instagram, M&S, Metro Boomin, Midjourney, Netflix, OpenAI, Snapchat, Spotify, Taylor Swift, The Weeknd, TikTok, Twitch, Universal, YouTube