author of Representing Talent: Hollywood Agents and the Making of Movies, How to Do Politics with Art, and other books.
Roussel applied the "Page 99 Test" to her latest book, Data-Driven Hollywood: The New Data Professionals in the Age of Streaming, with the following results:
Page 99 of Data-Driven Hollywood is part of the book’s second chapter, which describes how data specialists came to occupy key positions within streaming platforms—first at the three pioneering organizations, Netflix, Hulu, and Amazon Prime Video—and how they thereby gained increasing influence over the content produced or acquired by the streamers. This chapter is therefore devoted to the origins of data specialists’ “positional power” within Hollywood’s central production organizations. Page 99 focuses on how these professionals helped define their own roles and worked to expand the boundaries of their sphere of influence within the streaming platforms, enabling them to establish themselves as indispensable participants in creative decision-making processes. They achieved this through internal alliances, but also by challenging the power of traditional producers, who until then had largely monopolized the authority to decide what should be produced and to predict what would be successful.Learn more about Data-Driven Hollywood at the Princeton University Press website.
Page 99 of Data-Driven Hollywood can therefore serve as an interesting entry point into the story the book tells: that of the emergence of a new professional category—data and algorithm specialists—who have not only managed to establish themselves in Hollywood but, more importantly, to influence what is symbolically most valuable in that world: the greenlighting process for creative projects. While the Page 99 Test is thus partially successful, the perspective presented on this page does not, however, fully capture all the dimensions the book explores to explain the upheaval caused by the rise of data specialists in Hollywood.
Indeed, simply reading page 99 might leave the reader with the impression that the establishment of data specialists on the content side of Hollywood was the result of a well-coordinated strategy by a professional group or a few figures from the tech sector who set out to conquer Hollywood. The book, on the contrary, rejects this idea: it sheds light on a process of transformation that, as major and profound as it is, was not controlled by any individual or group. It shows how a combination of diversly motivated activities ultimately contributed to the emergence of a powerful new occupational group in Hollywood: that of content data specialists.
The book’s following chapter sheds light on a decisive aspect of this rise of data specialists: it occurred in relation to—and largely in opposition to—another group that occupies a central place in Hollywood, namely producers and creators. The book’s third chapter examines in detail the struggles for power and legitimacy that pitted producers against data specialists, as well as the transformation of occupational arrangements that led them to work together in an increasingly less confrontational manner, until producers recognized that they would henceforth have to work with algorithms and those who create them. The book’s last chapter precisely examines the work and tools of data specialists: it shows that the algorithmic models and instruments they use represent a completely new approach to creative projects and audiences, and reveals the implications that come with it.
--Marshal Zeringue
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