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From YouTube: MESIG presentation: Web3 Collaborative Storytelling: How Blockchain will Disrupt IP Ownership
Description
Meeting Agenda, Tuesday, September 12, 2023
Hyperledger Code of Conduct & Antitrust
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Jay Deverett, Manager at Deloitte Consulting | Blockchain & Digital Assets
----
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Creative Commons Attribution license (reuse allowed)
A
A
Start
today,
I'm
Brett
Russell
co-chair
of
the
median
entertainment
special
interest
group
today,
I
am
pleased
to
introduce
Jay
deveritt
Jay
is
a
manager
at
Deloitte
Consulting
in
Toronto,
overseeing
blockchain
digital
assets
and
payments.
Jay
is
no
stranger
to
the
entertainment
industry.
Having
produced
three
future
films
which
were
distributed
by
Netflix
Disney
and
ABC
Family.
A
I
will
add
that
today
is
just
day
one
stay
tuned
after
today
for
more
events
with
our
hyperledger
meeting
and
entertainment,
saying
as
we
continue
to
engage
with
Jay
and
anyone
that
wishes
to
participate
in
ongoing
efforts
to
build
on
Jay's
Vision,
using
permission,
hyperledger,
Fabric
and
compatible
Technologies
and
blockchains
welcome
Jay
good
to
see
you.
You
have
the
floor,
sir.
B
B
Group
I
previously
was
a
film
producer
and
I
when
I
first
saw
smart
contracts
back
in
2017
I,
just
I
shipped
it
to
this
industry,
alongside
just
seeing
the
streaming
Wars
between
Netflix
and
Amazon
Prime
video
start
to
take
off,
and
it
was
clear
to
me
that
there
was
going
to
be
a
disruption
in
this
industry
stemming
from
blockchain
I.
Just
didn't
exactly
know
how
yet
and
I
know
that
some
of
you
who
are
in
this
meeting
right
now
might
be
left
over
from
the
last
one.
So
pleased
to
have
you
here.
B
The
topic
of
this
really
is
how
blockchain
can
disrupt
IP
ownership
in
the
entertainment
industry
and,
if
you've
been
paying
attention
at
all.
Just
to
the
rough
headlines
there
we
right
now
we
have
strikes
going
on
with
the
writer's
Guild,
with
the
actors
Union
in
the
in
the
states
and
which
is
extending
over
to
Canada
and
the
main
reason
behind.
All
of
that
is
just
Revenue
slash
compensation
and
what
really
traces
back
to
ownership.
So
what
I'm
going
to
do,
just
because
it's
I
always
find
it's
best
to
sort
of
start.
B
This
conversation
from
this
part
I'm
going
to
you,
share
my
screen,
because
I
want
to
start
with
just
a
little
overview
of
how
the
entertainment
industry
actually
how
the
modern
entertainment
industry
actually
works.
So
just
one
second
I'm
going
to
share
screen
and
let
me
know
when
you
are
able
to
see
it.
B
Great
and
yeah
we'll
we'll
leave
plenty
of
time
for
questions
so
the
current
state
of
entertainment
companies.
This
is
in
2023,
there's
a
really
great
VC
named
Matthew
ball,
who
writes
a
lot
on
this
topic,
but
entertainment
and
what
it
is
has
really
shifted,
whereas
it
used
to
be
a
model
of
just
making
something,
that's
Entertainment
entertaining
and
then
getting
it
picked
up
by
a
distributor
to
go
into
theaters.
That's
no
longer
what
we're
looking
at.
B
We
have
a
few
conglomerates,
conglomerates,
absolutely
suffocating
oxygen
out
of
the
industry,
and
that
is
because
they
are
able
to
produce
content
across
all
channels
and
to
mine
their
existing
IP
and
I'll
get
into
what
I
mean
by
that
in
a
second.
But
in
order
to
be
successful
as
an
entertainment
company
in
2023,
you
need
to
be
building
franchises.
You
need
to
be
building
IP
that
you
are
then
continually
build,
building,
love
for
Via
other
channels
and
then
repeating
so,
let's
just
use
Disney
as
an
example,
because
they
are
the
best
example.
B
Disney
is
what
actually
Disney's
goal
as
a
business,
even
though
you
see
their
films
in
on
massive
screens
and
hear
about
them.
Breaking
billion
dollar
records
with
with
Avengers
movies.
Disney's
goal
is
actually
not
to
get
you
into
seats
in
their
theater.
Disney's
goal
is
to
have
your
kids
and
your
nephews
and
nieces
wanting
to
wear
Spider-Man,
pajamas
and
one
and
and
just
wanting
to
ride
the
rides
at
their
Parks.
B
B
They
have
a
really
low-cost
incubator,
where
they
can
create
all
this
source
material
and
actually
test
it
on
their
Low
End
Market
that
buys
that
buys
comic
books
and
when
they
go
out
to
make
a
movie
or
a
TV
show,
they
already
know
what's
popular
because
they
have
had
the
ability
to
test
out
their
IP
in
in
their
markets
already
now
for
any
company
that
is
smaller
than
Disney
AKA.
Basically
any
company.
This
is
just
simply
not
a
possibility
and
I
I,
don't
know.
B
I
I
I'll
assume
that
I
don't
need
to
get
into
the
reasons
why
a
startup
company
can't
afford
to
to
build
a
theme
park
to
build
a
Disney,
World
type
type
establishment.
But
essentially
it
is
just
it's
become
a
problem,
because
in
order
to
get
your
film
into
a
theater,
you
need
to
be
able
to
project
massive
massive
ticket
sales,
and
there
are
very
few
companies
other
than
those
that
produce
Blockbusters.
That
can
even
convince
the
theaters
of
that.
If.
A
B
A
B
It
says
along
the
bottom
here:
Partnerships
are
required
when
building
love
for
IP
via
channels
that
are
beyond
your
core
competency
and
Disney.
The
most
successful
video
games
based
on
Disney's
content
in
the
last
couple
years
have
been
those
where
they've
licensed
out
their
IP.
So
right
off
the
bat
we
can
see
that
there
is
some
teamwork
required
when,
even
even
when
you're
Disney
right,
there
has
to
be
some
sort
of
decentralization
of
Ip
in
order
to
in
order
to
get
that
in
order
to
sort
of
bring
these
areas
alive.
B
A
B
You
know
this
is
like
this
is
not
an
exact
science,
but
this
is
the
world
as
I'm
going
to
present
it
today
and
it's
it's
a
pretty
it's
a
pretty
exhaustive
View.
So
your
first
option
is
you:
can
mine
your
own
source
material
and
what
do
I
mean
by
that?
It's
exactly
what
I
just
talked
about
with
Disney
and
owning
the
comic
books.
It's
if
you
already
own
a
catalog
of
source
material.
B
You
can
do
more
with
it.
It's
the
same
way
that
on
Netflix,
if
they
already
own
stranger
things,
they
can
create
a
and
they
need
to
boost
some
viewer
numbers
they
can
put
out
and
they're
between
shooting
Seasons.
They
can
put
out
a
making
like
a
you
know,
a
making
of
stranger
things
documentary
or
they
can
go,
do
some
sort
of
event
or
installation
in
a
mall.
They
that's
the
type
of
thing
of
mining,
their
own
source
material.
Then
we
go
to
build
original.
B
This
is
what
the
big
film
studios
do:
the
foxes,
the
Warner
Brothers.
They
just
develop
scripts.
They
develop
original
scripts.
You've
got
you
know
like
the
franchises.
We
all
know
and
love
the
the
National
Treasures
and
this
and
that
those
that
are
sort
of
just
out
of
the
vision
of
one
right
of
one
writer
or
one
team
of
writers.
B
This
is
extremely
offensive
because
you're
dealing
with
and
I
mean,
let's
just
say,
they're
both
expensive
to
actually
come
into
the
when,
when
flipping
back
to
mining
your
own
source
material,
you
need
to
be
able
to
own
a
catalog
that
people
actually
love
right.
So
it's
like
either
you
stumbled
into
some
to
a
series
that
people
love
or
you
haven't
yeah
and
then,
when
it
comes
to
building
original
you're
dealing
with
the
writers
Union
for
this,
so
you're
paying
big
amounts
to
get
your
scripts
written.
It's
also
just
you're,
taking
a
huge
gamble.
B
Look
at
how
many
blockbuster
movies
are
marketed
for
over
a
year
and
then
just
flop
when
you're,
building
original
Ip
anything
can
happen,
and
it's
a
it's
a
high
risk
investment.
Then
we
get
to
licensing.
This
has
become
sort
of,
and
Licensing
also
includes
adaptation.
So
what
we
see
a
lot
in
this
this
is
most
is
best
captured
by
what
we've
seen
in
sort
of
the
young
adults
fiction,
category
and
tons
of
tons
of
categories
of
movies.
B
But
you
know
the
Hunger
Games
and
the
Divergence,
and
all
these
like
passive
series
that
are
all
in
your
face.
Those
are
licensed
from
authors,
and
that
is
that's
a
model
right.
It's
just
you,
somebody
creates
it.
You
license
it
from
them.
Studios
might
fight
over
the
licensing
rights,
but
then,
once
it's
done
once
the
deal
is
done,
you're
making
movies
on
it,
and
then
you
know
the
it's.
B
Finally,
we're
going
to
get
to
the
fourth
option,
which
is
the
topic
of
where
we're
going
to
go
from
here,
and
this
is
leveraging
open
source
IP.
So
what
do
I
mean
by
that
I
mean
you
know.
Open
source
is
a
term
that
is
so
familiar
in
the
software
development
world
and
it's
actually
much
less
familiar
in
the
creative
world.
But
why
should
it
be
right?
They
are
the
same
thing.
People
are
just
out
there
creating
Source
material,
the
same
way
that
they're
creating
that
they're
writing
code.
Why
can
we
not?
B
B
Okay,
great
I'm
gonna
pull
this
back
out.
Okay.
Here
we
go
so
what
makes
viable
open
source
IP,
so
there's
sort
of
two
ways
that
we
have
seen
this
coming,
that
occasionally
interplay
with
one
another
and
there's
some
really
great
examples.
So
collaborative
storytelling.
Let's
start
with
that
on
the
bottom
can
include
a
whole
bunch
of
number
of
things.
It's
there
are
communities
for
it
that
we
see
on
Reddit
so
like
it
goes
from
it
can
be
just
a
really
fun.
B
That
would
have
been
the
licensing
part
of
this
that
somebody,
some
movie
studio,
licensed
the
Twilight
books
and
then
online.
They
just
with
no
intention
to
make
money
out
of
it
started.
Just
writing
fan
fiction
about
it
that
drifted
far
away
enough,
that
it
drifted
Far,
Enough
From,
the
Source
material
that
it
shouldn't
actually
be
that
it
wasn't
actually
a
copyright
anymore,
but
once
it
drifted
far
enough
from
once
it
trips
in
Far
Enough
from
Twilight
fan
fiction.
B
All
of
a
sudden,
it
was
just
people
adding
on
collaborating
and
adding
on
to
stories
and
stories
and
all
of
a
sudden
one
day
of
a
publishing,
Studio
licensed
somebody's
book,
50
Shades
of
Gray
and
the
community
really
revolted
against
it.
They
basically
said
this
book
is
full
of
stuff
that
she
that
was
contributed
upon
from
from
the
rest
from
The
Wider,
Community
she's,
getting
full
credit
for
this.
B
They
actually
appealed
to
the
author
of
The
Twilight
books
to
say,
like
can't
you
sue
her
or
or
can't
use
to
her
or
shut
this
whole
thing
down
like
given.
It
started
off
of
Twilight,
and
the
court
actually
ruled
that
there
was
no
case
because
it
had
drifted
far
enough
from
the
original
Source
material.
B
So,
unfortunately,
the
fan
fiction,
Community
kind
of
actually
just
dispersed
after
that,
like
that
event
killed
the
fan
fiction
community
and
we
don't
really
see
it
anymore,
with
the
exception
of
the
you
know,
like
their
platforms
called
Wattpad
Etc,
where
it's
just
people
really
purely
trying
to
to
write
fan
fiction
on
their
own.
But
there
is
no
more
collaborative
fan
fiction.
You
really
only
see
collaborative
storytelling
now
on
really
Niche
internet
communities
and
most
like
mostly
Reddit
others,
like
others
like
that.
B
Now,
let's
get
into
Creative
Commons
Creative
Commons
is
a
really
cool
concept.
It's
a
non-profit
that
extends
a
license
for
IP
to
be
used
freely
and
for
those
who
use
it
to
to
just
to
be
able
to
use
IP
freely
and
create
whatever
they
want
off
of
it,
but
they
have
to
credit
all
the
original
off
all
the
original
creators.
B
So
the
most
famous
example
of
the
Creative
Commons
life
license
is
Dungeons
and
Dragons,
and
whether
or
not
whether
or
not
you
know
what
Dungeons
and
Dragons
is
you've
surely
heard
of
that
it
is
a
massive
gaming
brand
and
anyone
at
any
time
can
just
adopt
the
Creative
Commons
license
and
make
any
IP
from
from
from
Dungeons
and
Dragons
there's.
Actually,
this
show
on
Prime
video
called
Vox
Lux,
which
is
just
an
independently
produced
television,
show
about
a
Dungeons
and
Dragons
game
that
a
bunch
of
people
played
together.
B
The
people
started
to
like
so
much
that
it
wound
up
becoming
I,
see
these
theories.
So
what
is
the
problem
with
Creative
Commons,
though?
So
there
actually
have
been
some
problems
that
have
led
it
to
let
it
away
from
from
being
as
prevalent
as
it
could
be.
So
one
you
have
in
order
using
the
Creative
Commons
license
requires
attributing
all
the
authors
of
the
original
creative
Works,
which
can
be
convenient
inconvenient
when
you're,
when
you're
leveraging
works
that
are
based
on
multiple
other
based
on
a
whole
chain
of
other
people's
works.
B
So,
like
a
lot
of
people
have
just
have
just
a
lot
of
people
have
argued
that
it
will
just
erode
creativity
to
do
this,
because
people
in
in
creating
something
have
to
trace
down
who
all
the
authors
are.
They
have
to
credit
them.
They
have
to
get
their
permission
Etc.
Then
critics
have
also
worried
that
there's
no
obligation
the
Creative
Commons
license
doesn't
provide
any
sort
of
requirement
to
to
kick
back
Revenue
to
the
original
creators.
B
So
really
just
if
you
want
to
leverage
someone
else's
work,
it's
completely
on
you
to
enforce
the
contract
on
one
side
and
it's
on,
and
it's
on
the
other
person
to
to
trace
down
whoever
it
is
like.
This
is
just
simply
a
legal
framework
that
can
be
extended.
There's
no
there's
absolutely
no
Central
database
so
granted
that
now
we're
20
minutes
in
and
I've
been
talking
about.
The
entertainment
industry
and
I
haven't
even
touched
on
blockchain.
Yet,
let's
get
into
the
reason
why
we're
here?
B
How
does
this
full
problem
get
solved
by
blockchain
and
that
is
through
tokenized
IP,
so
everything
that
I
just
talked
about
is
solvable
through
blockchain
and
as
I've
been
discussing
with
Brett
over
the
last
couple
of
weeks.
We
are,
we
are
on
the
absolute
beginning
and
we
haven't
even
seen
the
beginning
of
this
revolution.
Yet
this
is
where
blockchain
is
heading,
and
this
is
what
I
personally
have
been
trying
to
figure
out
as
much
as
possible
to
map
out
where
it's
going,
we're
already
seeing
investment
in
in
startups
in
this
space.
B
You
know
like
start
to
pop
up,
but
the
way
the
blockchain
can
can
play
into
solving
this
problem
is
that
a
lot
of
people
think
and
I'm
going
to
assume
that
this
community,
if
you're
here
in
the
first
place,
you're
at
least
somewhat
up
to
date
on
what
blockchain
is
so
there's.
So
many
people
out
there
that
still
think
that
when
they
hear
the
blockchain
about
the
term
blockchain,
all
they
think
about
is
oh
a
system
to
overthrow
the
banks
and
the
governments.
B
That
is
actually
just
what
that's
just
the
the
fun
narrative
that
sort
of
you
know
has
that
it's
been
spun
into
all
blockchain
exists
to
do
is
to
eliminate
the
need
for
trust
in
systems,
and
what
do
we
have
here?
We
have
a
system
that
actually
works
between
Creative,
Commons
and
collaborative
storytelling.
What
it
is
missing
is
trust,
and,
frankly,
there's
also
the
other
part
of
the
ability
to
seamlessly
pay
revenues
to
to
actually
automate
a
revenue
stream
and
take
the
sort
of
hassle
out
of
out
of
paying
royalties
and
whatnot.
B
B
I
know
it's
like
a
little
bit
crude,
but
this
because
I
I
threw
it
together,
but
I
want
to
give
you,
rather
than
sort
of
just
explain
to
you
technically
under
the
hood,
how
tokenized
IP
can
help
this
system
I
just
want
to
show
you
an
illustrative
example
of
how
something
like
this
would
work.
So,
basically,
let's
just
say
on
Reddit
on
Twitter,
this
can
really
be
absolutely
anything.
I've
just
wrote
written
short
story
in
the
first
bucket,
but
it
could
be
absolutely
anything.
This
could
be
like
a
piece
of
Arts.
B
This
could
be
a
picture,
and
this
does
happen
right.
There's,
actually,
you
know,
I
won't
get
too
deep
into
the
details
of
specific
examples
just
because
they
get
boring.
Sometimes
when
people
don't
know
them,
but
there
is
an
online
store
story
called
The
Back
rooms,
it's
basically
it's
this
concept
of
of
liminal
spaces.
B
It
spans
all
channels
from
Tick,
Tock
to
Reddit,
to
the
internet,
Etc
and
so
to
the
rest
of
the
internet,
and
it
actually
served
as
the
inspiration
for
the
Apple
TV
Plus
show
Severance
and
they
I
read
an
interview
with
the
Creator
they
seeked
to
they
seek
to
credit
the
Creator.
There
was
absolutely
no
way
to
find
it.
There's
just.
There
was
no
documentation
of
this
whole
thing.
B
Imagine
if
these
writers,
who
are
sitting
online
and
were
sitting
online
and
just
adding
to
something
that
was
actually
being
consumed
by
tons
of
people
to
the
extent
that
it
was
actually
in
that
was
actually
inspiring.
An
Apple,
TV
Plus,
show
imagine
if
they
could
get
a
little
bit
of
Kickback
for
that,
and
also
a
writing
credit
on
a
major
Studio
Purdue
show
on
their
resume
right
that
there
is
a
huge,
huge
barrier
to
entry
in
the
writing
industry.
B
These
days
there
is
I
think
how
many
of
us
there,
you
know
like
I
I,
have
this
discussion
in
this
debate
with
people
all
the
time.
Is
there
a
Content
shortage?
I
think
that,
especially
during
times
like
this,
like
this
writer
strike,
it
is
undoubted
that
there
is
a
Content
shortage,
because
the
Netflix's
of
the
world
have
nothing
to
buy
and
nothing
getting
made,
but
in
general
I
think
that
there
is
I
I.
B
You
know
I
a
lot
of
I
do
a
lot
of
sort
of
like
side
of
desk
work
to
actually
try
and
put
numbers
to
this
content
shortage,
but
people
always
want
people
always
want
to
watch,
screen,
entertainment
and
right
now
it
is
just
it's
really
hard
to
become
a
writer
anyhow
I'm
going
to
get
into
this
I'm
gonna
get
into
this
example.
So
this
is
an
alternative
view
about
so
first
somebody
Creator
number
one
writes
a
short
story
and
in
writing
that
short
story
there,
that
is
actually
Minted
as
an
nft
on
the
blockchain.
B
So
again,
nfts
are
sort
of
like
thought
of
as
monkey
pictures,
that's
not
what
they
are
and
nft
literally
just
means
a
token
on
the
blockchain.
That
is
is
unique.
So
and
what
I
mean
by
unique
is
it's
a
story?
It's
something
it's
more
than
just
something:
that's
interchangeable
for
something
else,
so
that
is
minted
onto
the
blockchain.
There
is
now
a
permanent
immutable
record
of
that
Creator.
Actually
putting
actually
putting
this
short
story
online,
Creator
2
comes
around
and
says:
hey,
that's
really
cool
I
want
to
add
to
this
story.
B
They
mint
another
nft
that
has
to
inherit
all
the
characteristics
from
the
short
story.
I
mean
I'm,
essentially
for
those
of
you
who
know
programming,
I'm
talking
about
Java
classes,
but
for
creative
writing,
then,
and
you
must
inherit
it,
and
you
must
inherit
it
from
the
first
notch
in
the
story
and
that's
and
yeah
when,
when
you
inherit
it
it
it's
it
like
the
same.
The
same
immutable
rack
record
is
Vincent,
then
we
get
to
Creator
three
and
four.
B
These
guys
actually
come
up
with
their
own
and
and
these
each
of
these
two
guys
come
up
with
their
entries
into
the
series
and
they're
different,
though
like
they
actually
branch
in
two
different
directions.
Now
we
get
down
to
creators,
five
six
and
seven,
oh
I
didn't
realize
those
are
on
other
lines.
These
guys,
you
got
Creator
five
who's,
a
fan
of
Creator
three's
work,
and
then
you
have
Creator
six
and
seven.
B
A
B
Peter
is
taking
too
big
of
margins
or
Etc
that
the
real
Monopoly
lies
in
IP
ownership.
There
is
IP,
as
we
talked
about,
is
a
low-cost
and
extremely
high
margin.
Commodity,
and
it
is
the
type
of
it
is
the
type
of
property
that
all
of
its
creators
should
be
benefited
for,
and
nobody
should
be
forced
to
take
a
full
buyout.
B
It
can
make
it
a
lot
more
beneficial
right,
some,
a
kid
who
is
in
Wisconsin
in
his
parents,
basement
without
connections
to
Hollywood,
but
at
the
same
time
with
it
with
really
strong
writing
talents
who
wants
to
make
it
can
sit
there
and
write
a
short
story
and
actually
get
a
credit
on
a
Hollywood
film
and
maybe
even
get
some
royalties
too
right
like
we.
We
acknowledge
that
there
are
certain
things
that
are
always
going
to
be
there.
There
are
always
going
to
be
imbalanced,
the
curators
are
always
the
studios.
B
It's
going
to
take
a
while
to
topple
over.
It's
not
like.
We
can
completely
just
place
them
out
of
the
system,
but
they
can
at
least
have
a
system
in
place
that
automates
an
easier
way
to
that
automates,
an
easier
way
to
share
revenue
and
to
actually
properly
credit.
Then
we
get
into
the
topic
of
AI
when
it
comes
to
AI.
This
is
a
huge,
huge
problem.
Driving
in
part
the
writers
strike
right
now
is
people
don't
want
AI
taking
their
jobs.
The
truth
is,
AI
is
probably
inevitable.
B
I
mean
these
systems
just
work,
so
well,
there's
no
reason
for
us
not
to
use
them.
But
having
said
all
that
you
know,
AI
doesn't
just
come
out
of
nowhere.
Ai
is
actually
trained
off
of
inputs
and
there
should
be
a
way
to
know
if
an
AI
is
creating.
Every
AI
is
creating
something
that
even
presents
the
possibility
to
take
a
human's
job
is
trained
off
of
a
human's
worth.
So
it's
the
same
thing.
B
A
system
like
this
could
also
be
used
to
identify
and
keep
track,
keep
track
of
what
what
creative
material,
what
what
IP
an
AI
has
been
trained
off
of
so
essentially,
where
you
know
this
is
sort
of
like
my
plan
here
is
to
actually
open
up
the
floor
and
to
have
people
really
drill.
The
topic
in-
and
let
me
know
where
you
want
to
know
more
or
I-
can
provide
more
examples
Etc,
but
the
the
concept
here
is
just
that.
You
know
we
within
blockchain.
B
We
have
an
opportunity
to
to
attribute
and
automatically
provide
royalties,
and
obviously
lawyers
will
still
be
will
still
be
needed.
You
know
this.
This
isn't
just
like
this
isn't
a
built-in
solution,
Revenue
models
will
probably
be
different
and
revenue
share
will
be
different.
You
know
the
first
question
you'd
likely
ask
is
how
do
you
decide
the
weighting
of
something
like
like
this?
How
do
you
decide
sort
of
there's?
You
know,
there's
questions
like
what
do
you
do?
B
If
what
do
you
do
if
somebody
actually
goes
ahead
and
just
uses
this
anyways
like
there's
gonna
need
to
be
real
lawyers
involved?
It's
still,
it's
still
IP,
but
this
is
a
framework,
for
this
is
a
framework
for
creating
more
trust
and
creating
more
opportunity
and
more
visibility
and
more
credit
I
mean
it's
attribution
and
most
of
all,
it
removes
the
need
for
trust
from
from
collaborative
storytelling.
It
actually
allows
collaborative
storytelling
to
happen
the
exact
problems
that
happened
when
50
Shades
of
Gray
killed
the
fan
fiction,
Community
it
can
bring.
B
It
can
allow
that
you
know
we
have
proof
there
of
a
viable,
just
completely
collaborative
decentralized
community
that
actually
produce
something
with
incredibly
strong
Market
viability.
That
Not
only
was
a
best-selling
book,
but
also
adapted
to
a
movie
like
we
have
proof
of
that.
So
let's
just
bring
trust
back
into
it
and
that's
all
blockchain
is
in
this
situation
right.
B
This
is
just.
This
is
the
new
value
chain
and
we
just
add
one
more
thing
to
it,
so
that
we
can
actually
really
make
use
of
this.
Fourth
bucket
I'll
take
a
pause
there.
You
know
I
hope,
I
didn't
go
too
much
into
mad
scientist
mode
and
that
was
coherent
but
yeah
feel
free
like
please
just
just
Grill
me.
Even
if
you
are
skeptical
like
like
ask
ask
questions,
say
whatever
you
want.
Let's,
you
know
this
is
like
a
speculative
topic.
So,
let's
test
it
right
now.
A
Jay
there
are,
there
are
no
Skeptics
in
the
group.
There
are
no
Skeptics
in
blockchain,
pretty
awesome
so
far
that
we're
getting
a
little
bit
of
feedback
in
the
in
the
chat
here,
but
I
I
brought
up
a
couple
of
questions
for
you.
Let
me
give
you
the
first
one
here,
so
we
can't
spin
this
off.
You
know
what
leave
that?
Can
you
leave
that
that
that
diagram
you
have
up
there
I
mean
I,
think
that's
pretty
good.
A
There
we
go
beautiful,
so
the
my
first
question
is:
how
difficult
do
you
think
it's
gonna
be
given
your
experience
in
entertainment
and
your
experience
with
Deloitte,
seeing
the
the
Practical
side
of
things
and
seeing
the
the
Impractical
side
of
things
you
know
it's
a
perfect
world
in
in
in
Consulting
it
it
always
yells.
It's
like
it's
a
perfect
world
in
legal.
You
know,
there's
there
it's
cut
and
dry,
it's
black
and
white.
The
entertainment
industry
is
the
furthest
thing
from
black
and
white.
You
can
get.
A
A
B
Yeah,
okay,
so
I'll
like.
Let
me
answer
that
question
from
two
angles,
because
I
think
there's
two
elements
to
trust:
one
is
the
actual
legality
of
it.
So
I
mean
what
I
can
tell
you
within
Deloitte
Canada,
where
I
work.
We
are
currently
working
with
the
Department
of
Finance,
it's
one
of
our
engagements
to
help
them
help
them
develop
a
regulatory
frame,
a
framework
for
regulating
the
crypto
and
digital
assets
industry.
What
I
can
tell
you
just
from
through
that
engagement
is.
This
is
going
to
be
this.
B
This
entire
Market
is
going
to
become
legal.
You
know,
scams
within
it
are
not
are
not
going
to
be
legal,
but
digital
assets
and
tokenization.
It
is
all
coming
the
governments
are.
It
has
been
plain
and
simply
acknowledged
at
this
point,
that
the
the
truth
of
the
matter,
which
is
Bitcoin
the
Bitcoin
and
ethereum
networks,
have
reached
full
decentralization
and
governments
have
two
choices:
have
a
legal
Market
or
a
black
market.
So
as
far
as
that
goes
and
that's
I
know,
this
is
the
really
light
side
of
it.
B
Trust
will
come
through
the
fact
that
regulatory
Frameworks
are
going
to
be
drafted
and
even
despite
the
fact
that
the
US
is
lagging
a
little
bit
behind
the
EU
Australia
UK
Etc
it'll
happen
very
soon
and
furthermore,
you
know
right
now
we're
talking
about
the
world
of
nfts
and
the
nfts
aren't
even
in
scope.
Yet
even
with
the
markets
in
crypto
act
that
the
EU
just
released.
It's
the
first
piece
of
regulation
for
crypto-
that's
been
actually
passed
through
and
will
be
entering
force
it.
B
It
doesn't
even
nfts
aren't
in
scope
yet,
so
this
area
is
actually
a
free-for-all
for
a
bit
I'm,
just
going
to
jump
onto
the
other
side
of
trust,
which
is
consumer
trust.
You
know
what
I
can
say
from
Consulting
from
my
experience
is
that
business
trust
is
actually
secondary
and
less
important
to
Consumer
trust.
We,
our
engagements,
come
through
when
a
would-be,
a
client
or
a
would-be
find
notices
that
there
is
that
their
consumers
are
demanding,
crypto,
enabled
or
blockchain
enabled
products.
So
to
me
what
is
required?
B
You
know
to
answer
that
simple,
simple
question:
what
is
required
for
industry
trust
one?
It
has
to
be
legal,
which
is
already
happening
and
two
the
use
cases
have
to
be
viable.
We're
like
in
an
early
stage
where
crypto
is
just
a
casino
now,
I
think
that
gaming
and
entertainment
are
really
the
easiest
places
because
it
for
the
easiest
places
for
trust
to
be
built,
because
it
is
a
place
where
you
can
experience
an
intangible
that
is
traded
for
a
tangible.
B
It's
a
perfect
example
of
how
you
balance
the
idea
of
an
unbacked
crypto
with
value
on
the
other
side.
Ideas
are
tangible,
so
you
know,
like
you
know,
getting
into
jumping
over
to
video
game
gaming.
Let's,
let's
look
at
like
Call
of
Duty
right,
if
any.
If
there
are
any
Gamers
here,
if
you're
playing
a
video
game
and
you
kill
someone
and
you
take
a
rare
gun
off
of
them
like
if
you
can
just
mint
that
into
your
own
possessions,
that's
worth
that
that
is
actually
worth
something
because
it
has
utility.
B
So
in
Virtual
Worlds,
where
your
possessions
are
already
virtual,
you
have
utility
and
we
get
to
story
writing
so
for
me,
I,
like
I,
really
like
collaborative
storytelling
as
an
early
area
of
as
an
early
use
case
where
this
can
really
Thrive,
because
these
communities
already
exist
and
they
require
trust
and
there's
a
really
low
barrier
to
entry
for
them
like
they
for
them
they
just
need
to
be
able
to
trust
each
other.
If
and
if
what
it
is
that
and
what?
B
If,
if
what
builds
that
trust
is
blockchain,
then
they
trust,
blockchain,
so
I,
don't
know
I
I,
hope,
I,
know
I
rambled
a
bit
there.
I
hope
that
was,
like
you
know,
a
sufficient
sort
of
answer,
but
yeah
like
feel
free
to
in
the
chat
to
tell
me
if
you
want
to
hear
more.
I
also
saw
a
question
about
and
I'm
just
trying
to
get
my
my
chat
back
up.
B
Yes,
we
actually
do
I
mean
you
know
like
for
all
I
know,
there's
by
key
lawyers
in
this
room
like
this
is
actually
a
very
simple
topic
like
we
are
literally
just
talking
about
about
the
Creative
Commons
license,
which
already
exists
just
giving
it
a
little
more
automation,
just
like
taking
an
already
existing
legal
framework
and
like
that's
public
and
just
giving
it
giving
it
some
more.
It's
more.
What's
the
word
strength,
some
more
like
some
more
power.
B
So
that's
all.
This
is
I'm
looking
at
the
best.
What's
the
best
way
to
get
storytellers
to
understand
the
opportunity
and
how
to
apply
the
tools
and
techniques
of
blockchain?
Yes,
okay,
so
there's
two
ways
to
do
it.
One
is-
and
this
is
the
same
for
absolutely
everything-
we've
discussed
that
we'll
ever
discuss
in
blockchain
blockchain
needs
to
be
tucked
under
the
hood
like
unless
you're
working
in
payments.
B
You
don't
know
about
how
swift
enables
cross-border
payments
when
you
tap
your
credit
card
and
pay
at
the
and
pay
at
the
grocery
store
or
like
at
your
corner
store.
You
know
you're
not
asking
whether
this
is
being
powered
by
Shopify
or
by,
like
you
know,
or
by
fed
now
or
fed
wire,
or
the
Visa
or
Mastercard
Network
right,
like
rails
are
talked
trust
and
payment
rails
need
to
be
tucked
under
the
hood.
So
that's
first
off.
B
In
fact,
you
know
the
term
blockchain
itself
is
almost
is
almost
a
negative
con
like
and
I
think
we
all
agree
that
that's
got
to
go
away
at
some
point
and
it's
going
to
what's
the
best
way
to
get
storytellers
to
understand
the
opportunity.
So
you
know
this
is
an
interesting
question,
because
it's
delicate
and
it's
going
to
require
trial
and
error
like
there
is
so
there's
on
Reddit
I
I.
You
know
this.
There's
this
like
community,
that
I
love
it's.
B
So
one
of
the
ways
to
do
something
like
this
would
be
to
go
to
an
existing
Community.
Like
that
and
say
hey,
do
you
want
to
try
transplant
your
community
into
here?
Now?
Of
course,
it
goes
without
saying
that
there's
a
a
non-zero
chance
that
for
a
lot
of
the
people
in
this
community
sort
of
making
it
a
little
more
about
credit
and
giving
the
opportunity
to
monetize,
it
could
actually
destroy
it.
B
Like
there's
just
there's
some
communities
that
will
die
in
the
in
the
in
the
event
of
trying
of
putting
them
into
an
environment
that
exists
for
the
purpose
of
allowing
it
to
be
like
competitive
and
purchased
by
curators,
but
for
the
all
you
need
is
just
one
good
story
on
there.
Right,
like
all
you
need,
is
just
and
like
something
like
the
back
rooms
you
couldn't
put
on
there.
B
I
can't
say
if
I,
don't,
if
you
don't
know,
if
or
actually
I
see
plenty
of
angles,
past
legals
but
actually
say
I
just
want
a
company
to
work
for
it
to
be,
and
mostly
blockchain
must
come
under
higher
restrictions.
Yeah,
fair
enough
and
I
saw
you
put
another
question
earlier.
A
thought
of
a
game
thought
that's
the
basis,
then
build
a
new
comic
strip
for
events.
B
Exactly
so
on
what
you
said
earlier
like
something
like
this,
you
would
actually
be
able
to
put
that
on
there
and
create,
as
many
new
like
you
know,
upload
your
story,
upload
your
comic
onto
the
blockchain.
Have
it
minted
there
and
the
and
people
could
actually
just
build
on
to
it
right.
Everybody
hits
writer's
block
like
story.
Writing
is
collaborative
there's
a
whole
bunch
of
you
know.
There's
there's
just
like
within
writing
rooms
within
like
just
look
at
any
at
Studio
films.
You
have
these
Fox
films.
B
Right,
like
they
talk
about
disruptive
innovation
as
being
a
company,
a
new,
a
new
entrance
to
the
market
targets,
the
low
end
footholds
of
the
market,
who
don't
want
to
pay
for
something
so
Netflix
came
in
and
and
that
story
and
that
the
incumbent
doesn't
care
to
serve
because
they're
not
valuable
enough.
So
Netflix
came
in
and
said
we
are
going
to
Blockbuster
exists,
but
they
charge
late
fees.
B
And
so
in
this
case,
what
we
are
talking
about
in
a
disruptive
model
like
this
is
that
a
company
comes
in
and
starts
targeting
the
people
who
who
aren't,
who
are
just
using
the
most
free,
simple
form
of
entertainment,
like
text
and
image
stories
online,
and
we
tested
out
on
that
market
and
then
over
time
like
what
this
becomes
is
really
valuable.
Ip
that
can't
be
purchased
I
mean,
and
if
it
can,
it
benefits
all
of
its
creators,
but
really
it
just
over
time.
B
We
create
a
new
model
where
IP
is
a
decentralized
entity
and
everything
else
is
you:
have
these
companies
working
together
around
it
who
all
specialize
film
companies
become
film
production
companies?
Tv
production
companies
become
TV
production
companies.
The
Disneys
of
the
world
aren't
even
worried
about
trying
to,
and
the
netflixes
aren't
trying
to
worry
about.
B
You
know
this
model
is
not
about
disrupting
the
big
content
creators.
It's
actually
just
about
raising
the
tide
for
everyone
at
once,
but
especially
for
the
creators,
because
right
now,
it's
really
hard
for
them
to
break
in
right,
like
you
can't
just
get
a
credit
on
a
Disney
show
by
having
a
good
idea,
but
in
this
model
you
can
like,
and
so
such
as
should
be
the
case.
So
yeah
I
mean
yeah,
exhausting
transmedia
value.
Yeah
I
mean
like
fair
enough
honestly,
like
I.
B
A
Hey
Jay
tell
me:
how
much
pressure
do
you
think
the
studios
and
the
the
industry
participants
that
would
be
most
affected
negatively
by
this
sort
of
collaborative
approach
to
IP?
How
much
pressure
could
they
exert
on
the
technology
not
being
adopted
in
your
opinion?
What
what
do
you?
What?
What
do
you
feel
the
the
Dark
Side
of
of
bringing
transparency
to
yeah,
transparency
and
equality
to
this
whole,
to
certain
aspects
or
certain
components
to
the
industry,
but.
B
It
will
be
because
there
is
a
story
with
a
fan
base,
the
level
of
Game
of
Thrones
that
has
just
emerged
online
and
that
has
a
completely
that's
been
written
in
a
decentralized
manner,
but
which
has
like
a
full
which
has
a
full
record
of
ownership
and
creation
I,
and
at
that
point
yeah
sure
the
studios
can
choose
to
stay.
You
know
like
there
will
be
an
interesting
moment
in
time
to
observe
which
will
be
like.
B
Disney
has
the
ability
to
create
it,
but
they
have
to
stray
outside
of
their
out
of
their
model
of
if
it's
straight,
outside
of
their
model
of
of
owning
all
the
IP
that
they
build,
or
they
have
to
pay
a
pretty
penny
for
it
to
actually
bring
it
in
which
involves
hiring
all
the
writers
on
it,
which
actually
is
great
so
I
mean
to
me
like
to
me
by
the
time.
If
you
have
a
massive,
like
entertainment
conglomerate.
B
I
mean
this
is
an
interesting
one,
because,
depending
on
who
does
it
and
how
there's
tons
of
different
possible
models,
what
I'm
just
going
to
say
to
keep
this
answer
simple
right
now,
is
if
right
now
in
these
collaborative
storytelling
communities,
they're
doing
it
for
free
with
no
credit.
So
what
I?
What
if
you
know
what
what
will
incentivize
creators
anything
more
than
that
literally
anything
more
than
that?
B
Maybe
it's
maybe
you
know,
like
somebody
purchases,
a
piece
of
you
know
like
a
big
piece
of
this
of
an
IP
chain
for
for,
let's
say
ten
dollars,
and
one
person
gets
a
dollar
it's
a
dollar
more
than
they
would
have
gotten
otherwise
and
and
or
maybe
there's
no
money
involved
at
all,
but
there
they
get
to
have
a
credit
on
something
and
their
resume
gets
to
be
better.
So,
like
I,
don't
you
know?
B
I
don't
want
this
to
be
a
popular
answer,
but
there's
a
million
ways
for
that
to
happen,
and
in
this
case,
like
just
you
incentivize
them
by
making
it
exactly
what
they're
doing,
but
just
like
I,
I
sh,
even
so
much
as
a
shred
more
of
incentive.
All
the
way
up
to
all
the
way
up
to
like
getting
getting
like
a
full
credit
on
a
Hollywood
movie,
with
a
big
paycheck
and
and
like
you
know,
and
your
career
actually
launched
in
Hollywood
through
this
good.
A
Good
answer,
good
answer.
Tell
me
the
is
there
for
those
creators
that
are
going
to
be
that
are
on
Zoom,
currently
are
going
to
watch
it
down
the
road.
Are
there
any
really
reputable
collaborative
sites?
I
mean
you're
talking
about
Reddit,
but
is
there
any
place
that
you
would
recommend
that
would
be
a
or
you
could
suggest?
A
Can
you
give
us
something
in
the
chat
there
that
that
you
like
for
for
collaborative
storytelling
and
something
that
people
could
start
to
contribute,
and
maybe
we
could
look
at
approaching
in
terms
of
doing
a
pilot
on
on
doing
some
IP
stuff
on
blockchain,
with
some
of
these
groups?
Have
you
got
a
recommendation
of
a
popular
or
a
a
suite
of
popular
sites?.
B
Yeah
I
mean
I,
guess
you
know,
there's
not
there.
Aren't
that
many
that's
the
thing
there
actually
is
a
bit
of
a
gap
like
there
is
there's
a
subreddit
called
r
slash,
World.
Building
like
this
is
it's
sort
of
you
know.
This
was
cruising.
This
particular
subreddit
was
actually
what
really
inspired
me.
So
all
this
in
the
first
place,
like
it's
kind
of
exactly
what
I
described
and
people
will
tag
the
actual
world
they're
talking
about
and
they'll
introduce
some
art.
B
Someone
will
just
come
in
and
say
Here's
a
map
that
I
create
that
I
came
up
with
for
a
mystical
land
like
some
kind
of
Lord
of
the
Rings
type
thing
it
is.
It
is
notable
that
fantasy
and
science
fiction
are
like
really
the
areas
where
this
thrives.
Where
this,
where
these
communities
Thrive
the
most.
A
B
All
right
well,
I
mean
I,
guess,
I
hope
everyone
was
I.
Hope
people
here
were
able
to
take
something
from
this.
Can
we
maybe
get
some?
You
know
there
are
no
questions.
Maybe
some
let
me
like
you
know.
Let
me
know
just
right
in
the
chat
like
did.
People
find
this
interesting
was
this
like
was
this
useful?
Was
this
to
people
glean
inside
out
of
this?
Was
it?
Was
it
delivered
in
a
way
that
was
sort
of
like
how
did
it
come
across
to
actual
blockchain
natives.
B
Because
you
know
it
is
funny,
this
is
a
topic
that
what
what
chain
is
focused-
oh
yeah,
sure
my
LinkedIn
here,
I'll
post,
my
LinkedIn
here
it's
on
the
thing
what
chain
is
focused
honestly.
This
is
like
it's
chain
agnostic
right,
like
you
could
have
an
entire
custom
chain
like
that's
a
fork
of
anything
or
a
custom
chain.
That's
like
this
could
be
its
own
network.
It
could
be
an
entire
network.
B
B
This
is
almost
a
use
case
where
there's
almost
a
use
case
where
ethereum
actually
makes
sense
right,
because
the
high
transaction
fees
will
incentivize,
like
only
posting
stuff,
that
you
are
really
confident
in,
but
then
again
could
be
polygon
or
as
we're
here
today
could
be
hyperledger
on
a
permission
Network,
where
there's
actually
like
you
know,
there's
an
operating
model
that
allows
for
no
no
gas
fees
and
when
needed,
allows
you
to
bridge
off
into
evm
or
or
evm
competitor
networks.
But
really
you
know
like
I.
A
We'll
have
no
we'll
have
no
we'll
have
no
issues
interoperating
with
the
other
chains,
public
or
other
private
change.
So
that's
the
goal.
The
goal
would
be
to
do
build
something
on
fabric
hyperledger
fabric
and
using
the
connectors
to
take
some
of
it
out
into
the
public
world
of
blockchain
so
and
payments
Etc,
that's
going
to
be
something
that
needs
to
be
needs
to
be
discussed
and
obviously
hashed
out
with
the
the
industry.
A
B
Yeah
and
I
mean
you
know,
like
obviously
stable
value
too,
like
like,
if
we're
looking
at
least
amount
of
friction
to
adoption,
then
we'd
want
to
be
looking
at
like
stable
coin
payments
right
like
some
an
area
where
one
dollar
equals
one
dollar
as
opposed
to,
but
that's
a
whole
other
topic
for
a
whole
other
day.
I
kind
of
like
intentionally
left
the
legality
of
payments
aspect
out
of
this,
but
it
is
half
of
what
I
work
on
day
to
day.
So
I
couldn't
talk.
Anyone
to
your
off
about
that,
but
we'll.
A
A
So
let's
go
you
and
I
offline
and
talk
a
little
bit
about
what
our
next.
What
our
next
event
will
be
and
we'll
ask
everyone
to
to
follow
our
LinkedIn
page
connect
with
Jay
on
LinkedIn
and
prepare
for
the
next
event
and
whatever
else
we
we
have
in
store
to
work
on
together,
I'm
looking
forward
to
it
anything
else
from
anyone
there
and
Jay
go
ahead.
A
B
My
pleasure
yeah,
thank
you
so
much
for
having
me
and
yeah,
like
I,
said
just
follow
up.
If
there's
absolutely
anything,
you
want
to
talk
about
anybody.
You
know
this.
This
is
like
it's
not
a
pitch.
This
is
not
anything.
This
is
just
me
like
trying
to
inspire
all
the
people
building
in
this
community
so
because
I'm
passionate
about
this
use
case
so
reach
out
to
me.
If
you
want
to
talk
about
it,
because
because
you
know
that's
the
reason
why
we're
here
I'll.
A
Attest
to
that
Jay
is
it
demonstrating
clear?
Your
motivations
are
admirable
and
I
appreciate
that,
so
we
look
forward
to
working
with
you
and
everybody
this.
This
is
being
recorded,
it'll
be
on
the
hyperledger
website
under
in
their
YouTube,
with
probably
within
the
next
couple
of
hours.
So
you'll
have
a
look
and
we'll
send
a
link
out
onto
our
LinkedIn
page
to
the
video
everyone
have
a
great
day
Jay.
Thank
you
again.
It
was
good
to
see
you
know
it
was
a
great
presentation
thanks.
So
much
have.