News Archives - Jonathan Glazier

25th January 202525th January 2025

Creative Sparks: Navigating the Shifts in Media and Entertainment

A Personal Note: Why I Write This Newsletter

It’s Friday, which means it’s time for another altmedia newsletter. This year, I’m making it a bit more personal—sharing my perspective while still delivering insights on the state of content in the media world. and how I go about Navigating the Shifts in Media and Entertainment. Whether it’s broadcast TV, streaming platforms, social media, or the rise of FAST channels, I’ll be diving into the business, reviewing content, sharing insights, or even having a good old rant when it’s warranted.

But let’s be honest: what qualifies me to be a voice in this space? I ask myself that question regularly. The fact that anyone reads what I write—and sometimes even comments on it—never fails to amaze me.

On paper, my qualifications are unconventional, to say the least. I don’t have a media degree, MBA, or journalism background. My hobby—studying A-levels for fun—is unusual. I don’t sit the exams, so who knows if I’m learning anything? And then there’s my ongoing project to learn Mandarin. I can read and write 3,000 characters, but my speaking skills? Let’s just say there’s room for improvement. When people ask me why, my only answer is, “Because I like it.”

One thing I do proudly support is the Royal Society for the Arts. I get to put FRSA after my name, but truth be told, I filled out a form and set up a direct debit. It’s a charity I believe in, and its values closely align with mine, but let’s be clear—it’s not a qualification.

So, before I risk losing your attention entirely, let me add some plus points. I’ve been in this industry for a staggering 41 years—and I’m still learning every day. I’ve worked as a sound professional, directed and produced iconic shows, headed up light entertainment and international formats at the BBC, and produced TV on every continent that has one.

Not every project has been jazz hands and reality competitions. I’ve worked on factual programs, business shows, documentaries, comedy—you name it. OK, maybe not scripted drama (yet), but the rest? It’s been a journey. I’ve pitched ideas, crafted formats, and mentored talent around the world.

And here’s the thing that constantly surprises (and frustrates) me: I seem to have more energy, excitement, and passion for this industry than people a fraction of my age. I was about to say half my age, which would make them 32 years old—but honestly, I mean people under a third of my age!

So, does all that qualify me to write this newsletter? Maybe. Maybe not. That’s for you to decide.

What I do know is this: writing has become a deeply personal joy for me. As a dyslexic who faced years of educational challenges, finding my voice through writing has been a triumph. Even if only two people read this newsletter, I’m fulfilled and grateful.

To those of you who join me each week—thank you. Let’s dive in.

The State of the Industry

Plan to Make Work Pay

The UK Government’s Plan to Make Work Pay is a comprehensive initiative aimed at modernizing employment rights to better align with the contemporary economy. If ever there was a need for engagement when Navigating the Shifts in Media and Entertainment this is it. Spearheaded by the Department for Business and Trade (DBT) and the Department for Work and Pensions (DWP), the plan seeks to address issues such as low pay, subpar working conditions, and job insecurity, with the overarching goal of enhancing living standards nationwide.

Key Components of the Plan:

Strengthening Statutory Sick Pay (SSP):

• Eligibility Expansion: Proposals include removing the Lower Earnings Limit to ensure all employees qualify for SSP, thereby providing a safety net for those needing to take sick leave.

• Immediate Access: Eliminating the waiting period so that SSP is payable from the first day of illness, reducing financial hardship during health-related absences.

Regulation of Zero-Hours Contracts:

• Introducing rights for workers to have contracts that reflect their regular working hours, ensuring more predictable schedules and income stability.

• Establishing reasonable notice periods for shifts and compensation for cancellations, aiming to reduce the unpredictability associated with zero-hours arrangements.

Modernizing Industrial Relations:

• Updating trade union legislation to foster a collaborative approach between employers and employees, promoting negotiation and dispute resolution.

• Simplifying information requirements for industrial action notices and strengthening provisions against unfair practices during union recognition processes.

Enhancing Redundancy Protections:

• Addressing exploitative practices like ‘fire and rehire’ by considering increased penalties for non-compliance with collective redundancy rules, thereby safeguarding workers’ rights during organizational restructures.

Consultation Process:

The government has initiated a series of consultations to gather input on these proposals, emphasizing a partnership approach with businesses, trade unions, and the public. These consultations cover areas such as SSP reforms, zero-hours contracts, industrial relations, and redundancy protections, with deadlines for feedback set in late 2024.

Employment Rights Bill:

Central to the Plan to Make Work Pay is the Employment Rights Bill, introduced to Parliament in October 2024. This legislation represents a significant overhaul of employment rights, aiming to provide better support for workers and establish fairer workplace practices across the UK.

Recent Developments:

In response to concerns from business leaders about the potential impact of these reforms, government ministers have engaged in discussions to ensure that the implementation of new employment laws considers the perspectives of both employers and employees. This collaborative approach aims to balance the enhancement of workers’ rights with the operational realities faced by businesses.

For more detailed information and to participate in the ongoing consultations, stakeholders are encouraged to visit the official government website.

Creative Industries Taskforce

The Creative Industries Taskforce is a UK government initiative established to drive growth and innovation within the nation’s creative sectors. Announced in November 2024, the taskforce comprises leaders from various creative organizations, academics, investors, and tech entrepreneurs. It is co-chaired by Baroness Shriti Vadera and Sir Peter Bazalgette. Again the clue is in the title, the freelance community needs help Navigating the Shifts in Media and Entertainment.

Objectives of the Taskforce:

• Developing a Growth Strategy: The taskforce is charged with formulating an ambitious and targeted plan to unlock growth in the UK’s creative industries, identified as one of the eight key sectors in the Industrial Strategy.

• Informing Government Policy: By leveraging the expertise of its diverse members, the taskforce aims to provide informed recommendations to shape government policies that support and enhance the creative sector.

Members of the Creative Industries Taskforce:

• Baroness Shriti Vadera (Co-chair): Chair, Royal Shakespeare Company, and future industry co-chair of the Creative Industries Council.

• Sir Peter Bazalgette (Co-chair): Current industry co-chair of the Creative Industries Council.

• Francesca Hegyi OBE: CEO, Edinburgh International Festival.

• Professor Hasan Bakhshi MBE: Director, Creative Industries Policy and Evidence Centre.

• Caroline Norbury OBE: CEO, Creative UK.

• Stephen Page: Executive Chair, Faber.

• Caroline Rush CBE: CEO, British Fashion Council.

• Professor Christopher Smith: CEO, Arts and Humanities Research Council (AHRC).

• Tom Adeyoola: Co-founder, Extend Ventures, and Non-Executive Board Member, Channel 4.

• Lynn Barlow: Academic and TV Producer.

• Tracy Brabin: Mayor of West Yorkshire.

• Philippa Childs: Deputy General Secretary, Bectu Sector of Prospect.

• Saul Klein OBE: Investor and Member of the Council of Science and Technology.

• Sir William Sargent: Chair and Co-founder, Framestore.

• Professor Jonathan Haskel CBE: Professor of Economics, Imperial Business School.

• Syima Aslam MBE: Founder and CEO, Bradford Literature Festival.

Recent Developments:

The taskforce convened its inaugural meeting on December 18, 2024, marking the commencement of its mission to bolster the creative industries. This initiative aligns with the government’s broader economic strategy to enhance sectors that contribute significantly to the UK’s GDP and employment.

Significance of the Creative Industries:

The UK’s creative industries are a substantial economic force, contributing £108 billion in 2021 and employing over 2.4 million people in 2023. The establishment of the taskforce underscores the government’s commitment to sustaining and expanding this vital sector.

For more detailed information, you can refer to the official government announcement.

The Golden Globes

Comedian Nikki Glaser made a memorable debut as the host of the 2025 Golden Globe Awards, earning widespread acclaim for her sharp wit and engaging stage presence.

Critics praised Glaser’s performance, with Glamour stating she “killed it” as the host, bringing a refreshing energy to the ceremony.

The Telegraph lauded her as the best host since Ricky Gervais, highlighting her “salty and irreverent onslaught” that added a much-needed bite to the event.

Vanity Fair noted that Glaser’s presence, along with surprising winners, “saved the Golden Globes 2025,” emphasizing her standout performance.

Time remarked that Glaser “understood the assignment,” delivering a fun and clever monologue that resonated with both the live audience and viewers at home.

Her well-prepared and cleverly delivered monologue was highlighted by The Atlantic, which commended her for assembling two writers’ rooms and conducting over 90 test runs to craft her performance.

Overall, Glaser’s hosting was seen as a significant success, revitalizing the Golden Globes with her humor and charm.

The Awards

Taken from Broadcast read the full piece here

Watching the Golden Globes this week, Arrested Industries CEO Anthony Kimble captured the essence of what many in the industry are feeling: the U.S. entertainment juggernaut may finally be waking up to the global stage.

Anthony Kimble on the Golden Globes: A Wake-Up Call for Global TV

These awards, traditionally a celebration of Hollywood’s glossy powerhouses, surprised many with a roll call of unexpected winners—stories and talents that defy the norm.

Kimble highlighted some groundbreaking moments:

• Two women over 60—Jodie Foster (True Detective) and Jean Smart (Hacks)—taking major awards, alongside Demi Moore’s win for The Substance.

• The Japanese-language series Shōgun sweeping the drama category, with Anna Sawai, Hiroyuki Sanada, and Tadanobu Asano recognized for their performances.

• The indie-led Baby Reindeer, an unflinching black comedy, crowned Best Miniseries.

• Even films followed suit, with winners like The Brutalist and Emilia Perez daring to tell stories outside the Hollywood template.

Kimble noted that the awards didn’t feel like box-ticking exercises. Instead, they reflected an authentic shift toward diverse, unconventional storytelling—proof that audiences crave complexity, risk, and originality.

The Bigger Picture

For decades, a U.S. studio deal was the ultimate prize for producers worldwide. But as Kimble astutely observed, pandemics, industry strikes, and the rise of streaming platforms have eroded the old power dynamics.

Streamers, with their focus on international markets, have opened doors for non-English language productions and local creators, helping indie producers take bolder risks. These changes reflect not just a shift in production power but also the evolving tastes of global audiences who want stories that mirror the world’s diversity.

Takeaways for Creators

Kimble’s appraisal of this year’s Globes leaves us with some clear lessons:

Dare to be different: Originality and risks are paying off.
Authenticity matters: Diversity works when it feels genuine.
Think globally: Non-English language productions are drawing audiences worldwide.
Big studios aren’t essential: Streamers and indie producers are reshaping the landscape.
Don’t underestimate experience: Older actors and unconventional talent are finally getting their due.

The Golden Globes this year were more than an awards show—they were a reflection of the industry’s seismic shifts. As Kimble aptly put it, the golden glow of these wins should inspire creatives and producers everywhere.

So, let’s take that inspiration forward. Keep taking risks. Keep telling stories that matter. And, yes, maybe give those prosthetics a second look!

What’s Been Happening in the Media World This Week?

This week, the entertainment industry gave us plenty to talk about, from exciting new releases across platforms to the Golden Globe Awards sparking conversations about the future of storytelling. Let’s dive in.

New & Returning Series to Watch

As January rolls on, the major players have wasted no time bringing both old favorites and fresh series to our screens. Here’s what’s caught my eye:

• “Stranger Things” Season 5 (Netflix): The Hawkins gang is back for their final adventure in this global phenomenon, premiering later this year.

• “The Last of Us” Season 2 (HBO): Joel and Ellie’s journey continues this April, promising more drama, danger, and emotional depth.

• “The Pitt” (Disney+): A gritty medical drama set in Pittsburgh’s largest hospital, blending personal struggles with professional challenges.

• “The Buccaneers” (Apple TV+): A period drama following young American women navigating London’s high society.

• “Digging for Britain” (BBC 2) Proof that all archeologists have red hair, and there’s nothing wrong in that, its just an observation.

“Digging for Britain” has returned for its 12th series, with Professor Alice Roberts guiding viewers through the latest archaeological discoveries across the UK. The series premiered on January 7, 2025, on BBC Two, with new episodes airing weekly.

The series is also available for streaming on BBC iPlayer, allowing viewers to catch up on missed episodes.

In summary, “Digging for Britain” Series 12 continues to deliver engaging archaeological content, building upon its well-established reputation for quality and educational value.

Jonathan Glazier FRSA

January 10, 2025

13th December 202413th December 2024

How Did Korea Smash the Format World?

This is the last but one alt.media newsletter before Christmas and my final one written from Singapore. First, an apology for the recent lack of posts—I’ve been knocked for six by a respiratory virus that took hold last weekend. I’m on the mend, but still far from 100%.

I Can See Your Voice

Over the last few months its been my privilege to consult and mentor directors on the Korean format I Can See Your Voice. I’ve said many times that working on formats—reading the Bible, hearing the development process first-hand, and making deep dives to produce a series from a ready-made format—is an education in format theory. Working in foreign territories is equally a privilege and an education. I’ve learned so much from different working practices and cultural approaches, which I carry with me wherever I go.

These differences are often cultural and even products of national characteristics. In Asia, for example, there has historically been a reluctance to question things, a mindset deeply integrated into the education system. In countries like Singapore, this culture of “do as we say” and rote learning was part of a system designed to propel nations into the 20th century while maintaining national unity. But this approach, while effective for rapid development, can stunt creativity and innovation—two things that thrive on asking questions and challenging norms.

The remarkable thing is how much this has changed in the last 15 years. Asia is now at the forefront of innovation and creativity, and nowhere is this more evident than in Korean format development. At the heart of their success lies a willingness to ask why:

• Why is this engaging?

• Why is this entertaining?

• Why does this resonate across cultures?

It’s this constant questioning that has driven Korean producers to take simple, relatable ideas and transform them into universal, cross-cultural beats. Whether it’s the guessing game in I Can See Your Voice or The Masked Singer, Korean formats succeed because they build everything—from structure to storytelling—around these core, universally engaging ideas.

Korea has become the epicenter of global TV innovation, creating formats that dominate screens worldwide. But what makes its formats so universally engaging? How do they resonate across cultures, ages, and demographics?

Having recently worked on the Singapore version of I Can See Your Voice, I’ve had the chance to analyze the DNA of a format that has captivated audiences globally. Its success—and that of other Korean formats—lies in one simple, powerful idea: the guessing game.

1. The Hook That Changed Everything

At the heart of I Can See Your Voice is its most captivating beat: the moment the mystery singer walks on stage, leading to them opening their mouth.

This is the hook. It’s not just a reveal—it’s a carefully crafted moment of tension, curiosity, and emotional payoff that engages everyone watching. This universal appeal transcends cultures and demographics, making it the cornerstone of the format’s success.

Anecdote: During our Singapore production, we spent hours perfecting the build-up to this moment. One of my favorite memories was adjusting camera angles to capture the detectives’ faces at just the right moment—they mirrored the audience’s excitement perfectly.

Insight: The same core hook drives other Korean successes like The Masked Singer, where the guessing game and reveal are equally pivotal. Every element—from costumes to clues—is designed to deepen audience engagement with the mystery.

2. Why the Guessing Game Works

The guessing game is more than just entertainment; it’s an experience that invites the audience to participate actively:

• Relatability: Everyone loves to guess, whether they’re a child or an industry expert.

• Engagement: The tension of not knowing and the joy of discovery are universal emotional triggers.

• Replayability: Viewers keep coming back because each episode offers a fresh guessing challenge.

Production Tip: Every choice—wardrobe, lighting, staging, sound design—is built to enhance this guessing game. In the Singapore version, we used subtle lighting shifts and dramatic camera zooms to stretch the tension before the reveal.

3. My Methodology: Building Around the Hook

In formats like I Can See Your Voice, the hook isn’t just a moment—it’s the foundation for every production decision. Here’s how I approach it:

1. Focus on the Hook: Identify the single moment that defines the audience’s emotional connection. For I Can See Your Voice, it’s the mystery singer’s reveal.

2. Amplify the Tension: Use staging, sound, and editing to draw out the suspense. For example, the pause before the singer opens their mouth is just as critical as the reveal itself.

3. Localize the Guessing Game: While the core mechanics stay the same, cultural nuances play a role. In Singapore, we adjusted detective banter and clue delivery to match local humor and preferences.

4. Reinforce the Theme: Every facet of the production, from video packages to wardrobe, should support the guessing game theme, ensuring cohesion throughout the episode.

4. Why Korean Formats Thrive Globally

Korea’s success isn’t just about creativity; it’s about strategy:

• Mastering the Hook: Korean producers know how to design shows around universal, repeatable hooks like the guessing game.

• Risk-Taking: Pilots are often developed with high production values and tested rigorously.

• Partnerships: By collaborating with global distributors and streamers, they ensure their formats reach the widest possible audience.

5. The Future of Korean Formats

Korean formats have proven they can dominate globally, but what’s next?

• Interactive Formats: With technology, the guessing game could evolve into audience-driven reveals, where viewers vote in real-time.

• Global Co-Productions: As formats become more complex, expect collaborations between Korean creators and international producers, combining cultural strength.

6. Closing Reflection

As I wrap up my time in Asia, I’m reflecting on the power of a well-crafted hook. Working on I Can See Your Voice in Singapore reinforced for me how crucial it is to build every production element around a single, engaging idea.

Korea’s rise in the format world isn’t just about innovation—it’s about understanding human nature. The guessing game taps into something universal, ensuring these formats resonate everywhere.

The question is no longer how Korea smashed the format world. It’s who will learn from their success—and what’s the next great hook?

Jonathan Glazier

Media Consultant | Format Creator | Multicamera Director

🔗 jonathanglazier.media

📩 Subscribe for more insights: Alt.Media Newsletter

📱 Follow me: LinkedIn, Instagram, Twitter

“Exploring the trends, innovations, and stories shaping the media world.”

#KoreanFormats #TVInnovation #GlobalEntertainment #ICanSeeYourVoice #MaskedSinger #AltMedia #EntertainmentTrends #TVProduction #GuessingGame #MediaCreativity #TVFormatTheory #KoreanWave #SingaporeMedia #AsiaTV #CreativeCulture

13th December 202413th December 2024

Altmedia Weekly: East Meets West – How Asia and the West Are Rewriting Content Distribution

alt.media How Did Korea Smash the Format World?

How Asia and the West Are Rewriting Content Distribution. This week, Jonathan dives into the buzz surrounding Content London 2024, ATF 2024 in Singapore, and the Asian Academy Creative Awards. The events highlighted the growing divide between Asian and Western strategies for distributing content—and how the global industry is adapting to new challenges and opportunities.

Diverging Paths in Global Content Distribution: How Asia and the West Are Rewriting Content Distribution

Content London 2024: Western Producers Seek New Windows

Content London 2024 wrapped up with a sharp focus on evolving distribution strategies. While Asia continues to build its integrated streaming-broadcast ecosystems, Western producers are aggressively exploring new platforms and revenue models. The rise of FAST (free ad-supported streaming TV) channels, hybrid AVOD/SVOD platforms, and experimental windowing strategies demonstrates the West’s response to fractured markets and declining linear revenues.

A prime example of this shift was the announcement that UK-based Woodcut Media is part of a group launching a FAST channel in Australia. This move encapsulates how Western producers are seeking fresh opportunities to monetize back catalogs and niche content in untapped markets. It’s a fascinating counterpoint to Asia’s focus on streaming-first strategies and thriving broadcast industries. Another example of How Asia and the West Are Rewriting Content Distribution.

Key highlights from Content London included:

• Drama and Unscripted Trends: Commissioners shared plans for 2025, with co-productions and high-concept formats taking center stage.

• AI in Content Creation: The AI Festival explored how artificial intelligence is transforming storytelling and production.

• International Drama Awards: This year’s winners underscored the global appeal of innovative and bold narratives.

• Future Distribution Models: Panels highlighted the divergence in distribution strategies between East and West, with the West leaning heavily into FAST channels and other experimental platforms.

LEAP: Taiwan’s Bold Play for the Global Market

I had the honor of judging the final pitches at ATF 2024 in Singapore for the LEAP Creative Lab, an initiative by the Taiwan Creative Content Agency (TAICCA) in partnership with South Korea’s Something Special and Hong Kong’s AR Asia Productions. This program aims to elevate Taiwanese producers by equipping them with the skills to create unscripted TV formats for the international market.

LEAP featured two main phases:

1. Master Class in Taipei: Fifty producers attended a workshop led by Korean format experts, focusing on creating export-ready unscripted formats.

2. Creative Development in Seoul: Eight standout companies underwent five months of mentoring, culminating in their pitch presentations at ATF’s “Masters Meet Masters” session.

The energy and ambition in these projects were inspiring. Schemes like LEAP aren’t just about fostering local talent; they’re building a bridge for Asian storytelling to reach global audiences.

Asian Academy Creative Awards: A Spotlight on Japan and New Zealand

Zena Choo Jonathan Glazier Marilyn Tan and A.D.

I had the privilege of attending the Asian Academy Creative Awards this week, celebrating the best in regional television, film, and streaming content. This year, Japan and New Zealand shone brightly:

Japan’s Achievements:

• Best Feature Film: City Hunter garnered four national laurels, including Best Feature Film.

• Best Actor in a Leading Role: Ryohei Suzuki received the Best Actor National Win for his performance in City Hunter.

MIRADOR – Soundscape Through Japan NHK won best dance music short and I make a special mention because i had a long and interesting conversation with the producer about NHK and her film before the awards, and i cant wait to watch it.

South Korea’s Triumphs:

• Best Direction (Fiction): Jang Young Woo and Kim Hee Won were recognized for their work on Queen of Tears, a romantic comedy featuring Kim Soo Hyun and Kim Ji Won.

• Best Actress in a Supporting Role: Yeom Hye Ran received acclaim for her performance in Mask Girl, a Netflix series where she portrayed a complex character navigating societal challenges.

• Best Original Production by a Streamer (Fiction): The thriller A Bloody Lucky Day was recognized for its gripping narrative about a taxi driver entangled with a serial killer.

Malaysia’s Achievement:

• Best Actress in a Leading Role: Susan Lankester was celebrated for her role in Rain Town, where she portrayed Aileen Choo, a mother confronting personal and familial challenges.

Philippines’ Recognitions:

• Best Actress in a Leading Role: Kathryn Bernardo was honored for her performance in A Very Good Girl.

• Best Actress in a Supporting Role: Kaila Estrada received the award for her role in Linlang.

These accolades underscore the diverse storytelling and production quality emerging from the Asia-Pacific region, highlighting its growing influence in the global entertainment landscape.

New Zealand and Australia

“Boy Swallows Universe”: This series, based on Trent Dalton’s bestselling novel, was a significant contender, having secured six national wins, including Best Drama Series and Best Actor in a Leading Role for Felix Cameron. These accolades propelled the series to represent Australia at the Grand Awards. eventually securing Best Screen Play for John Collee Netflix, Brouhaha Entertainment

Best Short Form (Scripted) “Medicine” McKegg Entertainment – New Zealand

For a comprehensive overview of the event, you can watch the official 2024 Gala Awards ceremony below

the PDF of the full list of recipients is here.

These wins highlight the diversity and quality of content coming out of Asia-Pacific, reinforcing the region’s role as a growing powerhouse in global entertainment.

Looking Ahead: East Meets West?

The big question remains: Can the diverging strategies of East and West coexist, or will one model ultimately dominate? Asia’s thriving broadcast-streaming synergy contrasts sharply with the West’s experimental approach to distribution, but both are adapting to the demands of a rapidly changing content economy.

As we close out the year, one thing is clear: the future of content lies in collaboration, innovation, and a willingness to embrace new models. Whether through the bold experiments of Western producers or Asia’s steadfast streaming-broadcast ecosystem, there’s plenty to watch—and even more to learn.

Jonathan Glazier

Media Consultant & Altmedia Newsletter Editor

Exploring the shifts shaping our content economy.

21st November 202423rd November 2024

Weekly TV Industry Roundup: Survival, Innovation, and Global Perspectives

📺 Weekly TV Industry Roundup: Survival, Innovation, and Global Perspectives Headline: UK TV’s Fight for Survival: What Lies Ahead in 2025

The UK production industry is navigating one of its most turbulent phases in recent memory. Between tightening budgets, commissioning freezes, and a freelance workforce on edge, the big question is: How do we survive to 2025?

Broadcasters and production companies alike are scaling back, with many predicting the real pinch to be felt in the first half of next year. From conversations on set to boardroom discussions, it’s clear that the landscape is shifting—and not necessarily for the better. While some companies are consolidating and cutting costs, others are looking overseas for co-productions and alternative funding.

But it’s not all doom and gloom. The appetite for high-quality, original reality formats remains strong. Those able to pivot, innovate, and tap into global markets—particularly in the U.S. and Southeast Asia—may find the lifelines they need. Expect to see more hybrid formats that blur the lines between scripted and unscripted, alongside a rise in formats that reflect societal changes.

Key takeaway: 2024 will be about surviving the storm. To thrive in 2025, companies need to think global, diversify revenue streams, and maintain a close watch on emerging trends.

📈 Trending Now: Global News in TV Production

1. The Reality Boom in Southeast Asia Southeast Asia’s unscripted TV market continues to boom, driven by both local broadcasters and streaming platforms. Indonesia, Thailand, and the Philippines are ramping up their production output, with formats ranging from high-stakes game shows to intimate reality docuseries. Singapore is emerging as a regional hub for format development, and collaborations with UK and U.S. production houses are on the rise. For UK producers, there’s an opportunity here to co-produce and tap into this vibrant market.

2. FAST Channels Are Shaping the Future of Content Delivery Free Ad-Supported Streaming TV (FAST) channels are gaining traction across Europe and the U.S. As more households cut the cord, the demand for 24/7, niche, and genre-based channels is growing. Reality TV, with its endless rerun potential, is a perfect fit for this model. If you’re not already thinking about how your content can be repurposed for these platforms, now is the time.

3. U.S. Writers’ Strike Ends: What This Means for Unscripted The end of the Writers Guild strike has seen a return to scripted programming, but the halt in production over the past few months has left an undeniable gap. Reality TV producers in the U.S. have seized this moment, with a surge in commissions for unscripted content. Could the UK see a similar trend if the strikes ripple across the Atlantic in future?

4. New Reality Formats in Europe: Going Big on Social Experimentation European broadcasters are betting big on social experimentation in reality formats. Shows like The Traitors in the UK and Dragons’ Den spin-offs are fusing competition with psychological elements. The public seems hungry for reality that forces contestants into real-world dilemmas—so if you’re developing formats, lean into the moral gray areas and societal themes.

💡 Spotlight: Trends to Watch •

5. Asian Game Show Formats Head West Asian game show formats are still gaining momentum in the West, following the success of South Korean and Japanese formats like The Masked Singer. U.S. and UK broadcasters are eyeing new imports from Asia, with a particular interest in fast-paced, visually dynamic game shows. Producers in the UK should keep an eye on these formats, especially with the demand for fresher, more energetic game shows.

🛩️ Opportunities for UK Freelancers Despite the challenges, there are still international opportunities for freelancers. Southeast Asia, in particular, is opening doors to experienced TV professionals from the UK. Productions are looking for seasoned directors, editors, and format developers who can bring a fresh perspective to their local shows. If you’re willing to travel, or even consult remotely, now is the time to get your foot in the door.

Interactive Reality TV: With platforms like Netflix experimenting with interactive content, audiences are looking for more ways to engage with their favorite shows. Could this be the next big thing for unscripted formats? • Sustainability on Set: Green production practices are becoming the norm, not just a nice-to-have. As more broadcasters commit to sustainability targets, expect to see tighter regulations and incentives for productions that minimize their carbon footprint.

As we head into the last quarter of 2024, it’s clear that the industry is in flux, but with that comes opportunity. Whether it’s looking to international markets, developing fresh formats, or exploring new distribution models, the future belongs to those willing to adapt and innovate.

Until next week, JG Jonathan Glazier Media Consultant,

Format Creator & Multicamera Director

#jgtvdirector #AltMedia #JonathanGlazier #ContentTrends #TVInnovation #MediaTrends #FASTChannels #MIPCOM2024 #NeurodivergentVoices #DyslexiaInMedia #StreamingRevolution #DigitalContent #FreelanceCreatives #TVProduction #EntertainmentNews #ContentEconomy #CreativeIndustry #AsiaMedia #NewFormats #DigitalTransformation #IndustryInsights #MediaInnovation #CreativeOpportunities

6th February 20234th February 2023

The Future of Linear TV and Being Present

The Future of Linear TV and Being Present inexorably linked? It’s far enough away from the new year for all those resolutions to start failing! Have you been writing journals, meditating, and giving thanks during your brain dump? Yes, the idea of being present is big business, an app-driven online antidote to overusing social media and drifting off into a virtual unreality of detachment. Always ironic that 90% of the marketing for these journals, even the paper ones, are all through social media!
What has The Future of Linear TV and Being Present got to do with each other? There was a fascinating article in Broadcast LINK setting out the move to an online-only future and if and when we switch off linear TV for good.

BBC director general Tim Davie laid out the future of TV at an RTS event on 7 December last year, at least in BBC terms. The DG warned the market will shift towards an internet-first future by 2030, leading to switching off many linear TV and radio channels.
“A switch-off of broadcast will and should happen over time, and we should be active in planning for it,” he said. Furthermore, he added: “We are working on how an online BBC could be the best version of the BBC, shaped around people’s interests and needs – a daily partner to your life, bringing the BBC together in a single offer with personalised combinations.”

As a lover of live directing, I hope, actually I know, there will always be a place for live as-it-happens content, even if it is delivered over the internet as a live stream. I know from my show Good Game Asia that streaming is a part of the esports gaming and lifestyle vlogging ecosystem.

I want to go more into the philosophical argument for linear TV. Television schedules have long timetabled our lives. I recall the rush home twice a week to catch Blue Peter and reports of empty streets as the final episode of the original prime suspect was shown.

I predicted event TV or an appointment to view TV at a talk and the Royal Institute many years ago. At the time, I thought live entertainment was critical to broadcasters’ future in a growing social media presence. The idea of FOMO, I have a new acronym, FOSMS, Fear Of Social Media Spoilers, i.e. if you don’t watch Love Island, all your friends will be talking about the latest bombshell of dumping. So we timetable our lives, making space for the event, which we can share with friends and family in real time.

When the Queen’s died, we all came together on TV to share the experience with wall-to-wall live coverage on all the channels. This week we all share the grief of a family enduring the nightmare of a missing person. It is an event the whole country seems to be talking about; although one of my disconnected children walked into a news broadcast this morning oblivious to the story,

This brings me to the connection—the idea of being present. Should we all be present as we go through the current strife of strikes by essential services, government scandals, and the war in Ukraine? Isn’t that what linear TV brings us? Even while watching recording programmes, there’s still a feeling that we could get a “we interrupt this programme” announcement. We are present and connected. There’s also a practical consideration; it is easier to hack the internet that an entire broadcast network.

So is linear TV coming to an end? Are we going to see the delivery of linear TV through the internet? Given the security issue, should we maintain digital broadcasting? Is there a new technology that can deliver this as a backup to the internet?

Then there’s the social angle of the structure—the timetabling of our lives. We eat and then sit down to “Strictly” or revise until 9 when we chill watching “Love Island.” Meals and eating together have passed as typical times to be present in family life. Some families can unite around sporting events.

How will the demise of linear timetabled TV impact our ability to be present? When first contact happens, where do we go to experience the landing? Suppose there is another pandemic; how do we all connect for those briefings, even if we return to social media to discuss?

I suppose I am asking, “where is the community?” the conduit for community communication.

One hundred years ago, it was the BBC, one community for those able to afford a television.

Then D.E.R. gave us TV rentals, and mass access to TVs became a reality. It wasn’t long before big business cottoned on the captive nature of the audience, advertising became TV’s paymaster, and independent commercial broadcasting was born. We had two communities, BBC and ITV, and then other channels joined; other platforms came about through BSB and then Sky with yet more separated communities. However, there was a common thread in all these communities; they were on all the time and simultaneously. Next came the Streamers – Netflix, Amazon, Apple, Disney etc. Now we have entertainment anytime, anyplace. At the moment, we still have 24-hour linear news and broadcasters. Our goto places during times of trouble, national grief or celebration. But we have many communities to serve through groups on social media. In some cases, small groups.

We still need the comfort of one place of safety, a place of trust with no barriers to entry and no passwords or subscriptions to join. As the zombies run wild, before the power cuts out forever, I want to hear Hugh Edwards telling all my neighbours and me to lock the doors and keep quiet. Then I believe we will have a fighting chance of survival.

Jonathan Glazier: TV Director, Executive Producer, Lecturer at University for the Creative Arts. Former Head of BBC Light Entertainment and International Formats, MD FoxWorld TV UK. Creative Director at Talent TV, Creative Director Endemol Asia.

You can find me on social media at.

https://linktr.ee/JonathanGlazier

Pro social media

https://www.linkedin.com/in/jonathanglazier/

4th October 20214th October 2021

Creating My Online “TV” Course

I have been driven into the online course market creating my “online TV course” as a creator rather than a consumer. It is a covid thing, no international travel is an issue if you work as an international consultant. It is also something i have been thinking about for a while now.
But It’s a process full of decisions all of which seem quite daunting, so it is easy to procrastinate and spend all your time reading reviews and using free trials.
Do I go it alone, I can build Websites programme HTML and CSS? Do I use one of the big two ready made builders Kajabi and Thinkific? I am very clear about what I am going to offer, developing formats for audiences, now note my use of words, I didn’t say developing TV Formats. What do I call it has stopped my in my tracks and i need help? Is the noun television relevant any more?

Is the word “Television” relevant

Here is my fundamental dilemma, no one under 26 watches TV. I taught and University this year and I can confirm that between the students and my own teenage daughters, no one watches TV, or at least realises they are when they watch Love Island. They of course watch endless tictoks, youtube and stream Netfilx or any number of online sources. This is all done on mobile phones, laptops, gaming PC’s or perhaps the smartTV.
At university we had a robust conversation about what to call the TV production course moving forward.
“Television” sounds like a Jules Verne vision of the future from 1897.
“Content Creator” sounds like a person in an averagely lit bedroom in-audiabily rating on about minecrafts lack of updates.
“Digital Media” well what is that?

When we are trying to attract the crews, producers, writers and directors if we ask, in our excited dinosaur voices “DO you want to work in TV?” I suspect the answer would range from. what’s TV, through, Never watch it to a flat out NO. Its all I ever dreamt of but the last two projects I developed were “digital first” (online only) I used all the same skills and techniques as developing for TV, even in overcoming the unique non linear element of online media. What was I doing, how do I describe it. The market understands TV Format, but search but “TV” as an adjective seems to need expanding. Look, I am a TV director, then we have theatre directors, company directors etc. But what now describes a director working, asking people to point cameras at things for TV, or streaming or online events. Search media director and you will get a myriad of different sectors. I need to know what sector I work in in a single punchy everyone gets it way.

What is my online course?

This I can obviously answer, my “online TV course” is…
I want to help people format their ideas for content into a recognisable pitch for a buyer.
I want to help people format those ideas into what we now call stories, be that a story of a person winning a talent show, gameshow, or selling a thing or culture.
I want to help people who want to direct – “ask people to point cameras things creating shots” and then to “string those shots into something that tells the story”
I want to let people know what a fantastic industry camera pointing and show stringing is with opportunities for many skills and jobs, super technical to arts and design.
I want to help people fill up blank sheets of paper with great new ideas that will entertain, educate and inform.

But I don’t want to put off a new excited cohort of talent by calling by a name of a device no one watches.

Help me out

There we have it, I need help. What do we call this fantastic industry that takes a wildly talent group of people from every socio economic background, using every pronoun in the dictionary from a thankfully ever more diverse group of cultures and abilities, and as always from every educational mark on the scale. The common purpose, the capture, events, stories, concepts performances for anyone to experience through a screen, anywhere. Just writing that excites as much as the first day I walked into the industry on the Muppet Show and Digital/New Media doesn’t hack it. Wjhat do I call my “online TV course”

13th September 202123rd November 2024

The Future of Television is…..

Watching the fantastic final of the US Open Tennis I was mindful of the future of television. Emma Raducano has inspired so many to even watch the US open and in its first year of broadcast on Amazon Prime. All making this year’s US Open the most-watched by more people than ever before. The best of the best in tennis have converged on Flushing Meadows to play at the newly opened Arthur Ashe Stadium, and over the course of the two-week event they have produced some of the finest tennis matches ever seen in person or on television. Emma of course, and her brilliant opponent Leylah Fernandez, both had dream come true stories helping to propel this event to newer heights of popularity

Network Competition
The biggest event on the tennis calendar, although I would argue that’s Wimbledon, with no traditional host broadcaster. Take a look at the opens’ TV partners, ESPN (USA, Australia), Amazon Prime (UK) BEIN Sports (Middle East & North Africa), CCTV (China), Fox Asia, Star India and Eurosport. No CBS the broadcaster since the open era began in 1968, it was 2014 when CBS was outbid by ESPN, 80% a Disney company a cable network dedicated to sport. The relationship between CBS Sport and the rest of CBS was always frosty, with many arguments about scheduling and key matches crashing the News etc. So in the USA it makes sense for a dedicated Channel to take the event. Here in the UK, we have the BBC prepared to drop their weekly schedule to make way for Wimbledon.

Amazon Prime The future of Television
In the UK for the Open, we had what I see as the future of television, The entire US open broadcast Live on prime. Each match timetabled as a stream or select matches available as VOD. It was quality broadcasting, hub studio, good commentary from Martina Navratilova and courtside observations from Tim Henman. Given the interest in Emma Raducano, there was a last-minute deal the final free to air. Literally, 24 hours before the big event Channel 4 signed the contract, for an as-yet-undisclosed seven-figure sum, and 9.2m peak watched. for free.

Broadcast TV is Dead
The vast sums paid for these events means that in the near future Amazon Netflix etc will be the only organizations with deep enough pockets to pay up. As Audiences migrate to online viewing it was live TV and big sporting events that look like they could save broadcasters. However, I think that now looks unlikely as the streamers get on the live event bandwagon, the audiences already have the sign-up, younger audiences have moved away from any terrestrial TV. The writing is on the wall as “brand flight” takes hold from the broadcasters advertising money printing press. I do now think the disruption is complete. If Netflix paid ITV productions 30m for love Island why go to the trouble of running a broadcaster on empty?

The new world
Just as tennis adjusts to games with no line judges and computer-generated calls of “OUT” and AI takes us into a world with less reliance on humans. So our viewing of media will change. I have already campaigned for educational courses to drop the title “TV production,” in fact TV anything, it is becoming increasingly redundant as a term. Content Creation is for social media, so what is the new catch-all term for those of us that make shows for the new era? Media Production, Video Production, any suggestions gratefully received! I think the future of media production is going to be huge, the future of television – perhaps less so.