Curran and Seaton – Power and Media Industries Theory

Theory Overview

• Curran and Seaton argue that the media industry is dominated by a small number of powerful conglomerates driven primarily by profit and power.

• This concentration of ownership leads to less variety, creativity, and independent thought in media products.

• However, they also note that when media ownership is more diverse, it allows for more varied voices, experimentation, and creativity.

• The theory encourages us to consider how who owns and controls media affects what stories are told, how they’re told, and who gets represented.

institutional Context

• Killing Eve was produced by Sid Gentle Films, an independent British production company, and distributed by BBC America and the BBC.

• This mix of public service broadcasting (BBC) and independent production supports a degree of creative freedom.

• The BBC’s public service remit — to “inform, educate, and entertain” — allows the series to explore complex, unconventional female characters and LGBTQ+ themes that might not appear in more commercial productions.

Diversity and Representation

• Because the BBC isn’t solely profit-driven, Killing Eve was able to take creative risks — such as featuring two female leads, an LGBTQ+ relationship, and subversive depictions of gender and morality.

• This supports Curran and Seaton’s idea that less commercial ownership enables diversity and innovation in storytelling and representation.

International Appeal and Global Distribution

• Although creatively risky, Killing Eve was still developed with international audiences in mind. Its stylish visuals and multilingual settings make it appealing to global markets — showing how even public service content is shaped by commercial pressures.

• This reflects Curran and Seaton’s belief that even “independent” productions must balance creativity with marketability.

Limited Industry Diversity

• Despite its innovation, the series’ production and distribution are still dominated by Western (British/American) institutions, showing that global media power remains concentrated in the West.

• This aligns with the theory’s warning that a few powerful organisations continue to control the majority of popular media.

Institutional Context

• Lupin is produced by Gaumont Television, one of France’s oldest and largest studios, and distributed globally by Netflix.

• Netflix’s dominance in global streaming means Lupin reaches over 190 countries — an example of how a few corporations control most global media distribution, reflecting Curran and Seaton’s concerns about media concentration.

Global Streaming Monopoly

• Netflix’s near-monopoly in streaming demonstrates how large corporations centralise control over global audiences.

• While this limits diversity of ownership, it also enables international exposure for non-English series like Lupin, showing a paradox: global platforms can both restrict and expand diversity.

Creative Freedom vs. Corporate Control

• Although Netflix offers creators some freedom, content is often tailored to broad global appeal — meaning cultural or political elements may be softened to suit international audiences.

• For example, while Lupin explores French racial inequality, it does so within a stylised, entertainment-driven narrative, ensuring commercial success.

• This reflects Curran and Seaton’s view that profit and audience reach often take precedence over radical or challenging content.

Representation and Visibility

• Netflix’s investment in Lupin provides representation for Black French identities rarely seen in global media — suggesting that even within large corporations, audience demand and competition can push companies toward greater inclusivity.

• This shows that while ownership is concentrated, audience diversity can pressure corporations to support more varied stories.