Meet Hans Fraikin, MCM Advisory Board Member and Guest Lecturer at SUAD

Recently, we had the pleasure of welcoming Hans Fraikin, our advisory board member, to deliver a guest lecture in a Media Studies class. Hans drew on three decades of global industry experience and engaged students with practical insights that brought to life key concepts such as world systems theory, soft power, cultural diplomacy, or confirmation bias. The session moved between theory and industry practice, offering a rare, insider perspective on how the global media landscape is being reshaped.

Below is a brief interview capturing the key ideas from the session.

How did Netflix transform from a DVD company into a global media powerhouse?

Netflix’s transformation illustrates the power of strategic adaptation. It began as a DVD rental service in 1997, but by the mid-2000s, it recognised a shift in consumer behavior toward streaming. This “awareness” was followed by deep analysis of audience habits, platform economics, and emerging technologies.

Netflix then evaluated its options, or whether remain a physical distributor, license content, or become a technology-driven platform. It chose the latter. They evolved into a global ecosystem by building streaming infrastructure, developing recommendation algorithms, and eventually producing original content. Within a few years it had become more than just a distributor. It grew into a studio and a data-driven platform, fundamentally reshaping the economics of entertainment.

What strategic framework underpins such transformations?

The transformation follows a structured process: awareness, analysis, evaluation, creation, and action, or the very framework you learned in your media literacy course. This framework enables organisations to systematically respond to disruption.

For example, awareness identifies shifts such as technological change or audience migration. Analysis then breaks down data across multiple dimensions, from demographics to competitive positioning. Evaluation weighs strategic options, while creation focuses on building new capabilities. Finally, action involves execution and scaling. This model is now widely applied across industries facing rapid change.

Are similar transformations visible in other media companies?

Yes, and across multiple sectors. Disney evolved from a traditional studio into a vertically integrated intellectual property ecosystem by acquiring companies like Pixar, Marvel, and Lucasfilm, while launching its own streaming platform.

Amazon expanded from e-commerce into cloud computing and entertainment, integrating multiple business models into one ecosystem. Spotify moved beyond music streaming into podcasts, audiobooks, and creator tools. Even gaming companies such as Epic Games have transitioned into real-time production platforms used in film and television.

These examples show that convergence is now central to media strategy and it is happening across content, technology, and distribution.

How is artificial intelligence reshaping the film industry?

Artificial intelligence is transforming every stage of the production process. Studios are already using AI in script development, pre-visualisation, localisation, and post-production. It lowers the barriers to content creation and accelerates workflows.

At the same time, it raises critical questions. Which creative roles remain uniquely human? What happens to talent when digital replicas can be licensed? The emerging consensus is a hybrid model, or AI-accelerated human storytelling. This approach balances efficiency with creativity and it helps to ensure scalability without losing emotional depth.

Why are audiences becoming increasingly fragmented?

The shift from mass media to personalised platforms has fundamentally changed audience behavior. In the past, shared cultural experiences such as blockbuster films used to dominate. Today, algorithm-driven platforms deliver individualised content feeds.

These systems optimise for engagement, retention, and behavioural prediction, creating micro-audiences and personalised cultural “bubbles.” As a result, two users on the same platform may experience entirely different media realities. This fragmentation challenges traditional notions of mass culture and requires new approaches to storytelling and distribution.

What does the success of “Squid Game” reveal about global media?

“Squid Game” represents a turning point in global entertainment. A deeply local and a non-English-language series became a worldwide phenomenon, demonstrating that cultural specificity can drive global appeal.

This challenges the long-held assumption that global success requires Western narratives or high budgets. Instead it validates a new model where local stories can resonate universally when distributed effectively through global platforms. It also reinforces the importance of investment in regional content ecosystems.

How does world systems theory apply to today’s media landscape?

World systems theory traditionally positioned Hollywood as the cultural “core,” with other regions as consumers. However, streaming platforms have disrupted this hierarchy.

Countries such as South Korea, India, and Turkey are now emerging as “semi-peripheral” producers, exporting content globally. This decentralisation reduces cultural dominance by any single region and leads to a more multipolar media environment. However, while production is becoming more distributed, platform control remains concentrated among a few global players.

What role does film play in soft power and cultural diplomacy?

Film is one of the most powerful tools of soft power because of its global reach and emotional impact. Governments invest in film production not primarily for economic return but for cultural influence.

A compelling example is the use of international productions to shape national image. A single iconic film scene can have more lasting global impact than large-scale advertising campaigns. This demonstrates how storytelling can function as a form of cultural diplomacy, shaping perceptions at scale.

How should we understand media literacy in the age of algorithms?

Media literacy is more critical than ever. Algorithms tend to reinforce existing beliefs, creating echo chambers and confirmation bias. This affects how individuals perceive reality and engage with information.

Understanding how media is produced, distributed, and consumed helps individuals critically evaluate content. For example, learning history through film can enhance engagement, but it also requires awareness of narrative framing and bias. Media literacy is not just analytical but also ethical.

What are the risks of fake news and unregulated platforms?

The spread of fake news is driven by the economics of attention. Sensational content generates more engagement, which translates into revenue. As a result, platforms often prioritise visibility over accuracy.

Without regulation, this dynamic can undermine public trust and distort reality, particularly for younger audiences. The challenge is not only technological but also societal. Effective solutions require coordinated action from governments, platforms, and citizens to establish guardrails that balance innovation with accountability.

About Hans Fraikin

Hans Fraikin is the Global Head of Media and Entertainment at MM Advisory, bringing over 30 years of experience in the global film and television industry. He has worked in major production hubs including Los Angeles, Paris, Tokyo, Seoul, Jakarta, Montreal, and Abu Dhabi, building extensive relationships with Hollywood studios, streaming platforms, and international partners.

Until recently, he served as Head of the Abu Dhabi Film Commission, where he transformed the entity into a world-class production hub and achieved significant year-on-year growth and attracted major international productions such as Dune, Mission: Impossible, and F1: The Movie, alongside leading Bollywood and streaming projects. Prior to this, he was the founding CEO and Commissioner of the Quebec Film and Television Council, where he generated over $1.5 billion in inward investment and established key industry clusters in visual effects, dubbing, and digital media. Earlier in his career, he held leadership roles at Telefilm Canada specialising in international co-production policy, and at Twentieth Century Fox, where he contributed to the distribution and marketing of major global releases. He continues to advise globally on media strategy, industry transformation, and cross-border production.