In this article, an analysis of the over-the-top video on demand (VOD OTT) services’ market in Latin America is proposed, to account for its penetration, relationship with traditional pay-TV, content policies and current (and nowadays under debate) regulations for the sector. The analysis departs from a comparative study on the five main audio-visual markets of the region: Argentina, Brazil, Chile, Colombia and Mexico, within which it is analysed Netflix, the predominant VOD OTT service. First, it will be argued that Internet’s potential to generate higher levels of competition and diversity from online distribution of audio-visual content has been limited by practices of vertical integration between a few new entrants and pre-existing, dominant players of the infocommunications industry. Secondly, the State’s role as a guarantor of public interest is discussed, particularly in periphery contexts with deeply structural asymmetries, as is the case in the countries mentioned above.

RNA-binding proteins (RBPs) have been relatively overlooked in cancer research despite their contribution to virtually every cancer hallmark. Here, we use RNA interactome capture (RIC) to characterize the melanoma RBPome and uncover novel RBPs involved in melanoma progression. Comparison of RIC profiles of a non-tumoral versus a metastatic cell line revealed prevalent changes in RNA-binding capacities that were not associated with changes in RBP levels. Extensive functional validation of a selected group of 24 RBPs using five different in vitro assays unveiled unanticipated roles of RBPs in melanoma malignancy. As proof-of-principle we focused on PDIA6, an ER-lumen chaperone that displayed a novel RNA-binding activity. We show that PDIA6 is involved in metastatic progression, map its RNA-binding domain, and find that RNA binding is required for PDIA6 tumorigenic properties. These results exemplify how RIC technologies can be harnessed to uncover novel vulnerabilities of cancer cells.

Este trabajo analiza la diversidad en la oferta de contenidos nacionales en Argentina en el periodo de abril de 2019 a abril de 2022 en siete plataformas transnacionales representativas de distintos tipos de actores: Nativas digitales (Netflix, Amazon Prime); vinculadas a actores tradicionales de creación de contenidos (HBO Max, Star+, Paramount+) y ligadas a empresas de telecomunicaciones y transporte de datos (Claro Video y Movistar TV). Se consideraron tres dimensiones para observar la diversidad: la presencia de una sección de contenido nacional; cantidad de obras originales nacionales e identificación de las productoras que realizan los contenidos originales. El trabajo concluye que la diversidad ofrecida por las plataformas resulta limitada: solo dos de las siete cuentan con secciones nacionales, el peso de las producciones originales nacionales es muy marginal en los catálogos y las productoras con las que trabajan son pocas y se repiten entre plataformas.

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