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Telenor's - Ericsson

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Essentially, nobody paid attention to what they<br />

were doing. It was low key and off the horizon,<br />

which gave them the space to succeed.<br />

to lock customers in (then systematically<br />

ratcheting up consumer subscriptions<br />

afterwards).<br />

However newspapers are different.<br />

Murdoch’s strategies will only work if all his<br />

competitors do the same, which would<br />

amount to a cartel and create problems with<br />

the competition authorities. And even if all<br />

his competitors do sign up, there is still an<br />

abundance of free content. While publishers<br />

may feel their content is unique, internet<br />

browsing habits suggest that many readers<br />

find news stories interchangeable. The risk<br />

is that paywalls will reduce audiences and<br />

advertising revenues, while creating a competitive<br />

advantage for free outlets.<br />

So what is the way forward for media and<br />

telecom companies?<br />

First, we must recognize that clever collaboration<br />

is in the best interests of both media<br />

and telecom firms. I think a touch of the<br />

Google approach to innovation would make<br />

sense: small collaborative teams working on<br />

exploratory projects. Try to work fast, follow<br />

through on good ideas fast, launch them<br />

in beta fast, and then see what the response<br />

is. Use this to refine, improve – or reject. In<br />

this emergent world, it’s important to let audiences<br />

define what works for them.<br />

On the teams, you want either mid-level<br />

people or people on the peripheries because<br />

– as technology advances, platforms multiply,<br />

and new players enter the value chain –<br />

you need people working at the cutting edge.<br />

Often these employees know exactly what<br />

audiences really want but either they are never<br />

asked for their opinion, or they spend so<br />

much time managing present processes they<br />

lack time to reflect on the future.<br />

LARGER ORGANIZATIONS are often very skilled<br />

at exploiting their existing products but that<br />

process seems to squeeze out exploration,<br />

which is what the current environment calls<br />

for. To get past this, top managers must<br />

be explicit that creativity is central to the<br />

organization’s future.<br />

For instance, why has Pixar been so successful<br />

at animation? Because it is immersed<br />

in storytelling and the history of movies but<br />

also grounded in the latest digital animation.<br />

Or take hbo. The people there had great<br />

knowledge of plot, dialog and Broadway but<br />

they also knew how the emerging cable business<br />

worked. They were able to exploit the<br />

16 EBR #3 #2 2010<br />

regulatory freedom of cable to nudge their<br />

concepts in edgier directions than the more<br />

conservative networks. This paid off, and edginess<br />

became part of their content formula.<br />

Change is possible. Within the bbc in the<br />

uk, the staff was steeped in tradition and<br />

burdened with onerous public service<br />

accountability requirements. Yet with bbc<br />

News Online, they created a really rare example<br />

of an old, a very old, media organization<br />

with a leading product on the internet.<br />

I can’t actually think of any other examples<br />

of that.<br />

And how did they do that? They set up a<br />

small division under the radar staffed by<br />

journalists who were completely fascinated<br />

by the task of trying to make the old concept<br />

of public service news work on the new<br />

vehicle of the internet. Then, essentially,<br />

nobody paid attention to what they were<br />

doing. It was low key and off the horizon,<br />

which gave them the space to succeed.<br />

Clearly, they had a great brand to work<br />

with, but so did a lot of the media majors<br />

at that time.<br />

These teams must also be insulated from<br />

market forces. This is particularly necessary<br />

for media products, because the truly innovative<br />

ideas are by definition different and<br />

therefore need time to find an audience and<br />

for audiences to become accustomed to their<br />

differentness. If you analyze many of the creative<br />

winners in the media over the past 10<br />

years, most have a business model that protects<br />

them from the raw end of market forces,<br />

such as the bbc with its license fees. This<br />

“guaranteed” income allows very new types<br />

of products to reach wider audiences, and<br />

for word of mouth to spread. ●<br />

What will you be doing in<br />

one year? And in five years?<br />

▶ I hope very much that in both the immediate<br />

future and long term I will be working<br />

with organizations in the media and communications<br />

fi elds, helping them master the strategic<br />

challenges that are coming down the<br />

line. I believe the trick is freeing up their capacity<br />

to innovate. I don’t believe start-ups<br />

and young fi rms are inherently more innovative<br />

– they simply place fewer hurdles in the<br />

way of innovation. I’d also like to free up my<br />

own capacity to innovate.<br />

In television, Küng says that telecom and<br />

media companies come together at three<br />

points: in content creation and acquisition,<br />

at the mobile and home-user interfaces,<br />

and in content distribution over both television<br />

and telecom networks.

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