Chokepoint Capitalism

Giblin, a law academic, and Doctorow, a writer and activist, argue that creative workers earn less than they should because the markets for their work are controlled by intermediaries with monopoly or monopsony power.

Their analytical concept is the chokepoint: a position in a market through which everything must pass, which lets the holder extract value from both sides. They document these across creative industries. In music, streaming platforms and the three major labels; the labels' catalogue ownership makes them unavoidable to platforms, and their contracts with artists were written for a physical format economy. In books, Amazon's share of retail and its Audible monopoly in audiobooks, which requires exclusivity for access to the platform. In news, Google and Meta's control of digital advertising and of distribution. In film and television, the studios and the talent agencies, including the agency package deals that placed agents on the other side of the table from their clients. In live performance, the ticketing and promotion concentration.

Their argument about mechanism is that these positions were built through anti-competitive conduct that antitrust law permitted under the consumer welfare standard, because the harm falls on suppliers rather than on consumer prices.

The second half proposes remedies: transparency requirements, minimum wage and royalty floors, collective bargaining rights for freelance creators, reversion rights allowing creators to reclaim copyrights after a period, interoperability mandates, and structural separation of platforms from the content they carry. They are explicit that individual creator strategies cannot solve a structural problem.

The book argues one position and is written to advocate. The description of specific contractual arrangements is accurate and well sourced. The proposed remedies vary considerably in feasibility, and the authors do not seriously assess the risks in several of them.