The answer is “kinda” 😉…

First, the “Ek’s Parlay” analysis does discuss the video industry:

The difference in exclusive rights between music and movies is partially due to the nature of each medium. You listen to the same song repeatedly, but you only watch the same movie once or twice. So, of course, the music industry wants to get paid-per-play and the movie industry wants a fixed licensing fee. Therefore, music platforms are predicated on abundance — maximizing impressions via reach — whereas movie streaming services are predicated on scarcity — maximizing revenue-per-impression via exclusivity.

By definition, it almost always follows that abundant content is commoditized and scarce is differentiated. Accordingly, given a business model predicated on abundance, this music industry’s content can not be as differentiated as conventional wisdom once thought it was. After all, Tidal was probably the most differentiated music streaming app, thanks to the scarcity it tried to engender via exclusive releases, yet its subscriber numbers topped-out around a mere 4.5M vs Spotify’s 70M! (In fact, amidst recent fraud allegations against the app, researchers have suggested that Tidal subs might have been as low as 1M.)

Given those differences, it’s hard to affix the video industry to the same “a la carte” vs “selection axis. However, I’ve tried to crowbar the video industry into a 2x2 that’s similar to the “Four Winds”, but, as I conclude below, it’s not a perfect fit:

Finally, that all said, I did do a video industry analysis focused on Netflix last year:

And I could probably resurrect an analysis of the video industry now that there are more direct comps entering the market. For example, Netflix, Amazon, Disney+, Peacock, and AT&T/Warner/HBO offerings have far more similar jobs-to-be-done today than Netflix, YouTube, Vine, and Facebook Live did yesterday:

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