Episode 3: When Algorithms Become Studio Executives
Who decides what gets made on Netflix?
The obvious answer is studio executives, producers, writers and directors. But behind those human decisions sits another influence that never attends a meeting or reads a screenplay: the algorithm.
In Episode 3 of The Netflix Series, we explore how data is changing one of the oldest functions of entertainment: deciding what audiences might want to watch.
Traditional studio executives studied box-office numbers, ratings, surveys and similar films. But the final decision still depended heavily on experience, instinct and judgement. Someone eventually had to say, "I think people will watch this."
Streaming changed the equation.
Netflix can observe what millions of viewers actually do. What do they start? What do they finish? When do they abandon a show? Which genres keep them engaged? Even the image displayed for a programme can be tested and optimized.
That creates an extraordinary advantage. It also creates a problem: the more accurately we measure behaviour, the greater the temptation to optimize everything around those measurements.
This episode introduces two ideas that explain why this matters: Goodhart's Law and Campbell's Law.
Goodhart's Law is commonly summarized as: "When a measure becomes a target, it ceases to be a good measure."
Consider completion rate. It seems like a sensible measure of whether people enjoyed a programme. But if it becomes a target, creators may have incentives to shorten episodes, simplify plots or introduce cliffhangers earlier.
Completion rates might improve. But did storytelling improve?
Campbell's Law goes further. Once a numerical measure becomes important for decision-making, people and institutions change their behaviour around it. Eventually, the measurement system can reshape what it was supposed to measure.
This is where the algorithm stops being merely a recommendation engine and begins behaving like an invisible studio executive.
Nobody needs to order writers to make more crime thrillers. If crime thrillers perform well, investment naturally flows toward them. Producers notice. Writers notice. Competitors notice. An entire creative ecosystem begins responding.
The first-order effect is obvious: platforms get better at giving audiences content they are likely to watch.
The second-order effect is subtler: creators adapt their work to what platforms reward.
The third-order effect is stranger: audiences may begin adapting to the content optimized for them.
A feedback loop emerges.
Audiences influence algorithms. Algorithms influence investment. Investment influences creators. Creators influence culture. Culture influences audiences.
Algorithms are not inherently bad. Recommendation systems solve a genuine problem. A catalogue containing thousands of choices is almost useless if viewers cannot find something they enjoy. Data can also uncover audiences traditional executives might have overlooked.
The real question is not whether entertainment companies should use algorithms.
It is where optimization should stop and human judgement should begin.
That question reaches far beyond Netflix. Banks, employers, social-media platforms and governments use algorithms. AI will push this much further.
We are entering a world in which measurements do not merely describe human behaviour. Increasingly, they influence it.
Perhaps the studio executive behind the desk is no longer the most powerful person in the room.
Perhaps we should also be looking at the machine behind the screen.
🎙️ Episode 3: When Algorithms Become Studio Executives
The Netflix Series
A World Systems Journal podcast.