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Upstream competition and exclusive content provision in media markets

Using a multilateral vertical contracting model that combines Nash bargaining and Hotelling competition, this paper analyzes how factors like content value, market differentiation, advertising revenue, and bargaining power influence the likelihood of exclusive contracts in media markets.

Original authors: Kiho Yoon

Published 2026-01-29
📖 5 min read🧠 Deep dive

Original authors: Kiho Yoon

Original paper licensed under CC BY 4.0 (http://creativecommons.org/licenses/by/4.0/). This is an AI-generated explanation of the paper below. It is not written or endorsed by the authors. For technical accuracy, refer to the original paper. Read full disclaimer

Imagine the media world as a bustling marketplace with two main groups of players: Content Creators (the "Upstream" firms like movie studios or sports leagues) and Distribution Platforms (the "Downstream" firms like Netflix, cable companies, or streaming services).

This paper by Kiho Yoon explores a high-stakes game of negotiation between these two groups. The central question is: When do creators decide to sell their best shows to just one platform (an "exclusive" deal), and when do they sell them to everyone?

Here is the story of the paper, broken down into simple concepts and analogies.

The Setup: The "Hot Dog Stand" and the "Special Sauce"

Think of the two distribution platforms as two hot dog stands located at opposite ends of a long street (a concept called the Hotelling model).

  • Stand 1 is on the left.
  • Stand 2 is on the right.
  • Customers are walking along the street. They prefer the stand closest to them, but they will walk further if the food is better.

Now, imagine the Content Creators (let's call them Chef A and Chef B) have a "Special Sauce" (premium content like the Super Bowl or a hit movie).

  • If a stand has no special sauce, customers get a basic hot dog.
  • If a stand has one chef's sauce, the hot dog is much tastier.
  • If a stand has both chefs' sauces, it's the ultimate hot dog.

The platforms want the sauce to attract more customers. The chefs want to sell the sauce for the most money possible.

The Game: Who Holds the Cards?

The paper analyzes how the deal is struck using a "Nash Bargaining" approach. Think of this as a tug-of-war over the extra profit the sauce creates.

  • Bargaining Power: Who is stronger in the negotiation? If the Chef is famous and the Stand is desperate, the Chef has the power. If the Stand is huge and the Chef needs a buyer, the Stand has the power.

The Big Findings: When Do Exclusive Deals Happen?

The paper finds that exclusive deals (where a Chef sells their sauce only to Stand 1, leaving Stand 2 with nothing) become more likely under four specific conditions:

  1. The Sauce is Super Tasty (High Value):

    • Analogy: If the sauce is so good that it makes the hot dog a must-have, the stands will fight desperately to get it. They are willing to pay a huge premium to be the only one selling it.
    • Result: High-value content leads to exclusivity.
  2. The Stands are Very Similar (Low Differentiation):

    • Analogy: If the two stands are right next to each other and customers can't tell them apart, the competition is fierce. To win, a stand needs a "secret weapon." If they can't get the secret sauce, they lose all their customers.
    • Result: When competition is intense, platforms push harder for exclusivity.
  3. The Chefs Don't Make Money from Ads (Low Advertising Revenue):

    • Analogy: Imagine the chefs also make money by showing ads on their own TV channel. If they sell their sauce to everyone, they get ad money from everyone. If they sell it to only one, they lose that ad money.
    • Result: If the chefs don't care about ad money, they don't mind selling exclusively. But if ad money is huge, they prefer to sell to everyone to maximize ad views.
  4. The Chefs are Weak Negotiators:

    • Analogy: This is the most surprising finding. If the Content Creators are weak in the negotiation (the Platforms hold the power), the Platforms will demand exclusivity.
    • Why? Because the Platforms know they can squeeze the most profit out of the deal if they are the only ones with the sauce. If the creators are weak, they can't say "no" to the platform's demand for exclusivity.

The Twist: What Happens When Companies Merge?

The paper also looks at what happens when a Chef buys a Stand (Vertical Integration).

  • Scenario A: Two Mergers (Chef A buys Stand 1; Chef B buys Stand 2).

    • Now, Chef A owns Stand 1. They have a choice: Keep their sauce for their own stand (Exclusive) or sell it to Stand 2.
    • Result: Interestingly, when companies are fully merged, they are less likely to keep content exclusive compared to when they are separate. They often share the sauce to avoid a price war, or they trade sauces.
  • Scenario B: One Merger (Chef A buys Stand 1; Chef B and Stand 2 are separate).

    • This gets messy. The merged company (Chef A/Stand 1) might try to starve Stand 2 of content to crush it.
    • Result: The paper shows that if the "weak" upstream firms (the ones without a merged partner) have very little bargaining power, the market tends to end up with two mergers (everyone buys their own stand) to secure their own supply.

The Bottom Line

The paper argues that exclusive contracts are not just about the content being good; they are about the balance of power.

  • If the content is a "must-have" and the platforms are fighting a fierce war for customers, exclusivity wins.
  • If the content creators are weak negotiators, the platforms will force exclusive deals to gain an unfair advantage.
  • However, if the content creators are strong (or if they rely heavily on ad revenue), they will prefer to sell to everyone, keeping the market open.

In short, the paper explains why we sometimes see a show only on Netflix (exclusive) and other times see it on Netflix, Hulu, and Disney+ (non-exclusive). It depends on how valuable the show is, how much the platforms hate each other, and who holds the stronger hand at the bargaining table.

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