So, TVING messed up. Big time. They scheduled the finale of “Returned Kids” far too early. Meta-matching problem, they say. Right. As they race to catch up on their own backend system failures, I’m left here personally pondering a far larger systemic failure.

Whose Stories Are We Really Seeing?

The “Returned Kids” drama, from its casting controversies to the tragic real-life circumstances of Song Young-kyu, has of course made waves. To be fair, it’s yet another terrific Korean drama on a global streaming platform. While I enjoy a good K-drama as much as the next person, the incident highlights a glaring imbalance: whose stories are being told, and who gets to tell them?

Think about this: A platform with the resources of TVING can make a mistake that spoils a show for millions. Bouncing back to the fore are all these amazing African creators just overtaking with art and narratives that are truly interesting. Yet, they face challenges in accessing these platforms themselves. How many amazing stories have a chance to be told, stymied only by lack of opportunity.

The algorithm favors the familiar. The studios support what they know will sell. That often means shoring up the status quo, avoiding disruption and excluding the voices of those closest to the problems. We think it’s great that Lee Na-eun has returned to our screens after a casting controversy, while equally talented actors of African descent labor in anonymity. We recast Song Young-kyu’s impact due to a drunk driving scandal. This ultimately tragic state of affairs is further compounded by economic realities akin to the systemic obstacles that many African artists experience, which frequently kill their aspirations before they can even take root.

The Algorithm's Invisible Walls

It's not just about getting on the platform. It's about being seen. The same algorithms that determine what we watch are biased, pushing what we watch to build on the already established viewing habits. This creates a feedback loop where mainstream content dominates, and independent, diverse voices get buried. It’s akin to trying to yell over a roaring stadium full of fans – not doable at all without the right megaphone.

Consider the themes in "Returned Kids": abandonment, survival, revenge. These are all themes that touch everybody, but resonate very deeply into the African experience. African creators have the ability to release compelling stories on these topics. Individually and together, they will look upon their creative past, present and social realities to dream up ideas. These stories are seldom told. They just don’t have the implicit marketing budget or star power to make it past the invisible walls put in place by the algorithm. They really do require the right meta-matching, so to speak.

Blockchain: A New Path Forward?

Here’s where things get interesting, and where I believe we can drive toward a much better solution. What if African creators didn’t have to go through these traditional gatekeepers at all? Imagine if, instead, they could directly reach out to their audience, fund their work, and create dynamic communities around their artistry.

I know, blockchain can sound complicated. The possible benefits to the African creative economy are gigantic. Imagine a filmmaker in Nigeria who is raising money through NFTs for their next project. Now imagine an up-and-coming musician from South Africa, able to grow her global fanbase thanks to a decentralized streaming service.

  • NFTs: Allow artists to sell their work directly to collectors, cutting out the middleman. This can provide a crucial source of funding for independent projects.
  • Decentralized Streaming Platforms: Offer an alternative to centralized platforms like TVING, allowing creators to share their content without censorship or algorithmic bias.
  • Blockchain-Based Funding: Enables creators to raise capital through crowdfunding campaigns, giving them more control over their projects.

We're already seeing glimpses of this potential. Most notably, African artists are leveraging NFTs to promote and sell their music, art, and even virtual land. Filmmakers are exploring decentralized funding models to create independent films that challenge mainstream narratives.

It's time to invest in these solutions. It’s long past time to give power back to African creators so they can tell their own stories, in their own ways.

This isn’t merely a matter of fairness — it’s about adding diversity and depth to the global cultural tapestry. African stories are important, transformative and they are powerful and should be privileged. Let us make the “Returned Kids” broadcast error our alarm clock. Let’s create a more equitable and inclusive entertainment industry, one blockchain transaction at a time. Who's with me?

This isn't just about fairness; it's about enriching the global cultural landscape. African stories are vital, powerful, and deserve to be heard. Let's use the "Returned Kids" broadcast error as a wake-up call. Let's build a more equitable and inclusive entertainment industry, one blockchain transaction at a time. Who's with me?