My read is that TV (or 'entertainment' as we've come to know it since the cultural explosion of television) still requires artists and/or professionals with some form of skills/vision in order to be made, but is ultimately produced by and for the enrichment of corporate giants at the end of the day. Under that system, works can still potentially be made which satisfy the interests of the artist, the corporation, and the consumer (and everywhere in between). The transition to the distraction economy (e.g., TikTok but more generally 'content' as we've come to know in the last decade or so) seeks to remove the pesky artists and professionals from the equation, and tighten the corporations' collective grip around the consumers' attention to the point that the constant use of their product is less of a choice, but more of a compulsion (or as the author states more plainly, addiction) to which there is little alternative thanks to the current landscape of culture at large essentially now being contained within a handful of apps.