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

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

27th November 202427th November 2024

Transferable Skills for Freelance TV Crews considering a switch.

Transferable Skills for Freelance TV Crews Considering a Career Shift

Like yesterday writing Transferable Skills for Freelance TV Crews considering a switch, is a painful reminder of the state of TV. Steven D Wright captures the sentiment of the majority of us in the industry in his article in the times here.

For many of us, working in TV isn’t just a job—it’s a dream come true. Often, it’s a passion that started in childhood, making the idea of leaving the industry almost unthinkable. It’s not just what we do; it’s part of who we are.

I often say I don’t have an ego about my work, but let’s be honest: when I mention projects like The Muppets or Gladiators at dinner parties and get the inevitable “wow,” it does feel good. It’s a validation of the creativity and hard work we pour into what we do.

But times change. The same “wow” could be earned today editing Sidemen videos or working for the latest trending YouTube channel. It reminds me of when industry pros used to turn their noses up at cable or satellite jobs because “it’s not broadcast.” Fast forward to today, and those same platforms are dominating the landscape.

This is why it’s crucial to keep an open mind. Working in TV might be your dream job, but dreams alone don’t pay the bills. If you’re considering a career shift, or just need to diversify your options, don’t fall into the trap of thinking, This is all I know. The truth is, the skills you’ve honed in TV are incredibly transferable and valued across multiple industries.

For crew members like camera operators, sound technicians, lighting professionals, editors, and sound mixers, there are a wealth of transferable skills that can open doors to alternative careers. Here’s a breakdown tailored to each role:

1. Camera Operators and Cinematographers

Transferable Skills:

• Expertise in framing, composition, and visual storytelling.

• Technical proficiency with cameras, drones, and stabilizers.

• Problem-solving under pressure and creative thinking.

• Experience with emerging technologies like AR/VR.

Alternative Careers:

• Drone Operator: Aerial videography for real estate, sports, or events.

• Video Journalist: Filming and reporting for news outlets or independent platforms.

• Content Creator: Shooting for brands, social media influencers, or YouTube.

• Corporate Videography: Filming training videos, corporate events, and product showcases.

• Sports Videography: Working for live sports productions or post-event highlights.

2. Sound Recordists and Mixers

Transferable Skills:

• Expertise in sound engineering and audio mixing.

• Knowledge of sound design for different environments.

• Ability to work with sound recording hardware/software.

Alternative Careers:

• Podcast Producer: Editing and mixing podcasts for brands or individuals.

• Audiobook Engineer: Recording and editing audiobook narrations.

• Music Producer: Working with independent musicians to record and mix music.

• Event Audio Technician: Setting up sound systems for concerts, conferences, or weddings.

• Forensic Audio Specialist: Enhancing and analyzing audio for legal or investigative purposes.

3. Lighting Technicians and Gaffers

Transferable Skills:

• Knowledge of lighting design and electrical systems.

• Problem-solving and quick thinking on set.

• Creativity in creating moods and aesthetics with light.

Alternative Careers:

• Theatrical Lighting Designer: Designing lighting for stage productions.

• Architectural Lighting Consultant: Creating lighting solutions for buildings and spaces.

• Event Lighting Technician: Setting up and programming lights for live events.

• Retail or Hospitality Lighting Specialist: Enhancing spaces for customer experiences.

• Smart Home Installation Specialist: Implementing advanced lighting systems in homes.

4. Editors (Video and Audio)

Transferable Skills:

• Proficiency in editing software like Adobe Premiere, Final Cut Pro, or DaVinci Resolve.

• Storytelling through visual and audio cuts.

• Collaboration with creative teams and tight deadline management.

Alternative Careers:

• Content Marketing Editor: Creating video content for brands and social media.

• YouTube Channel Manager: Editing and optimizing videos for creators.

• Post-Production in Gaming: Editing cutscenes or trailers for video games.

• Educational Content Creator: Editing training videos or online course content.

• Corporate AV Specialist: Producing internal and external video materials.

5. Sound Mixers

Transferable Skills:

• Expertise in post-production sound mixing.

• Problem-solving to match audio to visuals.

• Attention to detail and technical precision.

Alternative Careers:

• Game Audio Designer: Creating sound effects and audio landscapes for video games.

• Sound Branding Specialist: Designing audio identities for brands.

• Live Sound Engineer: Mixing live audio for concerts or events.

• Audio Post-Production Specialist: Working in advertising or film dubbing.

• Virtual Production Audio: Developing soundscapes for VR/AR applications.

6. Multiskilled Crew Members

Transferable Skills:

• Teamwork and adaptability in high-pressure environments.

• Technical troubleshooting and operation of complex equipment.

• Ability to work in unpredictable conditions with tight deadlines.

Alternative Careers:

• Event Production Specialist: Overseeing AV for live or virtual events.

• Equipment Trainer: Teaching others how to use cameras, lights, or sound gear.

• Rental House Technician: Managing and maintaining production equipment rentals.

• Logistics Coordinator: Planning and managing technical setups in various industries.

• Digital Media Specialist: Creating video content for marketing or education.

Emerging Opportunities

• VR/AR Content Creation: Expanding skillsets into virtual production.

• Streaming Production: Live streaming for e-sports, conferences, or online events.

• Corporate/Brand Storytelling: Working with businesses to create high-quality promotional content.

• Sustainability in Production: Consulting on eco-friendly practices for events or productions.

Other Resources

TVSU Transferrable Television Skills Tips and Contacts 20Sept Download

Written by Jonathan Glazier

A seasoned media consultant and multi-camera TV director, Jonathan brings decades of global experience in creating, producing, and directing innovative formats. Drawing on insights from the cutting edge of television and media trends, he offers a unique perspective on the challenges and opportunities shaping the industry today.

5th April 202323rd November 2024

Breaking the Box: A Lefty Dyslexic Director's Insights on TV and Media Ep1

Yes, I am A Lefty Dyslexic Director, and I create, direct and produce tv shows; this is one of the few TV review channels in the UK. if you want to know what to watch, subscribe
Yes, i am one of those awful media lefty types. I am also a divergent thinker, so some of my ideas are a bit left-field.
But all my thoughts and comments are respectful, if anything, they point out the absurdity of modern political thinking.
My Reviews are my own, and It's just about good and bad not left and right.

25th February 202325th February 2023

Advertising is becoming a tax poor people pay

Advertising is becoming a tax only poor people pay

“Advertising is becoming a tax poor people pay.” Professor of Marketing at the NYU Stern School of Business Scott Galloway – 2016.

I pay for YouTube premium; I do much research on youtube, have my channel @jg_tvdirector, and those adverts are very annoying, so I pay a subscription for premium. It’s the same on a couple of streamer’s ITVX, for one.

That’s going against my socialist principles of anti-private health or schools, but it’s in the same ballpark. I can afford to turn off the adverts, many people cannot. However, the people who can’t have the least disposable income.

Where is that going to leave us? As subscription revenue levels off or declines, the streamers will soon develop two-tier payments, one with and one without ads. So Advertising is becoming a tax poor people pay. But as that demo is the least attractive to brands, we may see the Mandalorian with a can of coke, sporting a Rolex, as product placement becomes the only way to reach high-income households? The adverts that the less well-off will all be for lucrative online gambling, payday loans and Iceland frozen food stores.
While the ability to target consumers becomes ever more sophisticated and crafty, the avoidance of adverts becomes another source of revenue. I’d pay for an Instagram feed free of adverts. I also know people are leaving Facebook because in their feeds they see more adverts than posts from friends and family. So a premium Facebook feed without ads and a free with seems like a good idea?

The way we consume entertainment (and information) is going to change drastically over the next 4 years. Television is already a redundant word. “Tele” as a direct translation from Latin means “far off.” True we may be watching pictures from far away, but TV has come to mean “the linear delivery of visual content”. I think a more arcuate description has to evolve as Broadcast TV becomes outdated. Stream and Live Stream are better suited to today’s reality, Long From and Short Form and are more accepted. Content creation or delivery are words we use more and more to describe the areas we work in. The reason this is important is because of the rights to show the content that is created. How we restrict, who can and can’t view? Who has paid or who is watching for free? Because at some point someone has to pay the wages of the people in the business and subscriptions and advertising are what fund our cultures all around the world.

You think you are expanding your cultural horizon as you go to see the Cezanne exhibition at Tate Modern. What you are doing is paying for the people that hung the paintings on the wall, The person who pasted the paper poster on the tube hoarding. For every pound, you spend a proportion goes to the advertising sector in fact ad spending worldwide will reach nearly 885 billion U.S. dollars by the end of 2024. A talking point by Jonathan Glazier with thanks to Barrick Prince.
#advertising #broadcast #jgtvdirector

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/

31st January 202331st January 2023

“Are Subscriptions Worth the Price?”

Are Subscriptions Worth the Price? In recent years, streaming services such as Netflix, Amazon Prime, Apple Plus, and Disney have become a staple in households worldwide. However, as the cost of living continues to rise, more and more people are finding themselves forced to cut back on subscriptions, including those for streaming services.

The Cost over Value

Netflix: offers a wide range of TV shows and movies, and is a great option for those who enjoy binge-watching. Netflix has three subscription plans, starting at $8.99 per month, $13.99 per month, and $17.99 per month.
Amazon Prime: This streaming service is a great option for those who enjoy a mix of TV shows and movies, and who want additional benefits from their subscription. Amazon Prime costs $12.99 per month or $119 per year. This subscription includes access to Amazon’s Prime Video library as well as other benefits such as free shipping and early access to Amazon deals.
Apple Plus: This streaming service is an excellent option for Apple users who want access to Apple’s original content and other services. It doesn’t have a vast selection of original material like Netflix and Amazon, but what it does have is pure quality. Apple Plus costs $4.99 per month and offers original content, movies, and TV shows.
Disney: It includes access to Disney’s vast library of films and TV shows, including Star Wars, Marvel, and Pixar titles. This streaming service is perfect for families and for those who love Disney’s content. Disney costs $6.99 per month and offers access to Disney’s extensive library of movies and TV shows, as well as original content.

The Choice

While these streaming services offer a variety of content for viewers, their high monthly or annual cost can be prohibitive for many people, especially during a cost-of-living crisis. It’s important to weigh the cost of a subscription against the value it provides, as well as considering alternative options such as sharing accounts with friends or family, or choosing one or two services instead of subscribing to all of them. Ultimately, the decision to continue or cancel a subscription will depend on each individual’s financial situation and entertainment preferences.

In conclusion

So are subscriptions worth the price? Yes, but in moderation. If you only watch Ted Lasso on Apple plus, you are not getting Value for money. Disney is an excellent option if you have kids. The hard choice is between Netflix and Amazon; my advice is, to be honest, are you a Netflix person or an Amazon person? I think we are all a bit of both. I would probably subscribe to Amazon prime regardless of their video offering; if you are a regular online shopper it makes sense to pay fro free delivery alone.

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.

12th August 201917th August 2019

The Future of TV

So what is the future of TV as we know it?

Many years ago at the Royal Institute, I said that broadcasting would centre around live appointment to view tv, so a reduction in recorded programmes, particularly entertainment shows. That has happened, most of our Saturday night shows now have big live shows as part of the format. I also predicted that MIMO and FOMO would become significant components in scheduling strategy. Today if you don’t actually watch Love Island you “Miss It and Miss Out” and that fear drives views. Obviously, because social media will be full of spoilers, viewers have to watch, the “Fear of Missing Out” is real. Now streaming is shaping the future of TV. More significantly, where advertisers spend their money is changing the face of TV.

Will broadcast TV survive? That’s an interesting question. The big difference between broadcast and on-line was the linear schedule versus the on-demand of on-line, but we now see more live event streaming. The appointment to view has crossed into the on-line world with my daughters making a note of the expected upload of the next Sam and Colby video on youtube.

There’s a debate about sVoD against aVoD. sVoD is, of course, the Netflix subscription Video on Demand model while aVoD is the ad-funded model of youTube. All these services are known as “OTT”; Over The Top as in over the traditional TV services. The demographics of the viewer dictate the type of business model. Subscriptions are relatively high and tend to be funded from the Bank of Mum and Dad. That’s where the younger viewers tend to get their access to SVoD while preferring the content on the aVoD platforms

.All of this is bad for traditional broadcasters unless they can migrate their offering to some kind of OTT platform they will be doomed. In the UK, we are seeing the emergence of the ITV hub, which is a offers both ad-funded content and subscription services. Youtube is actually doing the same, you can free your self of the adverts by paying a subscription. Apple, of course, offers the PPV, pay per view.

Traditionally content providers got the cost of making the content plus a fee, and in the UK they kept (past tense is intentional) or shared the IP or intellectual rights. This meant they were free to resell the material and develop secondary revenue streams. However, Netflix keeps the rights, they have to, the content sits on their platform across the world for years. Any secondary use of the content threatens their business model. This means they have to develop healthy margins allowing a worthwhile production fee. They also have to build great relationships with their producers, and they are doing this and doing it well.

If I were in the business of making TVs or if I were a broadcaster or channel owner I’d be worried. If I were a traditional platform owner like Sky or Astro I’d be super concerned. Why pay $60 minimum for a cable or satellite service? Incidentally, I have always found “cable cutting” a bit of a strange phrase in the UK. We never really had cable TV, going instead straight to satellite which of course has no cable.

Eventually, Satellite TV will cease. Traditional Broadcasters will continue the move on-line. Even though the BBC is protected from the uncertainty of ad dollar funding because of the licence fee. It will come under pressure, and the licence fee will have to evolve. We need to keep the BBC as is; let’s keep one part of our life in national ownership. Not allowing it to descend into the hell of dumbed-down commercialism. iPlayer will see the BBC continue in some form, but we need to explore how we pay for it.

The future of TV content is excellent, we will all just be watching using different forms of delivery. The cable and satellite services will be the first to go, There will be heavy competition for our subscriptions, but the consumer will dictate the market. I don’t want to be paying out for three or four services because the content is fragmented across platforms and providers, Disney ITV HUB, Netflix Amazon etc.

I think to ensure their TV business stay relevant, the manufacturers will do a basket deal. All the VoD’s will offer the services for a one-off payment through on their smart TVs, that’s the future of TV. Mobile will do the same through the handset manufacturers.

As for Advertising, I hope it dies a death as we all move onto influencer marketing. Youtube is about to be overshadowed by Tic Toc. And we will all wake up to the fact that get rich schemes are a giant scam, and social media will face a crisis of funding.

Jonathan Glazier

Creative executive & multi-camera director in digital and television media, Consulting with and inspiring teams to reach their creative potential.

1st August 2019

Elitism, is IP a thing anymore, for that matter, are TV formats a thing anymore?

Interesting I choose to write this on the day we hear ITV Studios has acquired Armaoza Formats, I wonder why… not why I’m writing but why the takeover? Is the format business as active as it once was? Or has the format fever just reverted into business as usual? Are MIP and MIPcom just getting smaller because of prohibitive costs and the Amazon effect of the internet with everyone, media buyers included, operating using their mobile while watching C21screeners and reading K7media reports?

Fremantle and Endemolshine are restructuring, otherwise known as downsizing, there have been precious few breakout hits showing any signs of longevity. Sure Love Island is doing the rounds, and The Singer is enjoying a flurry of sales but will we see a return to the days of Millionaire and Weakest Link taking millions. Yes, we all point to Got Talent, X factor and The Voice as being international successes, but in real terms, T.V. viewing is old hat, figures are down everywhere. If the floods of climate change don’t get them first, the next audience is stuck in Tic Toc land glued to influencers the rest of us have never heard of, unless we are down with the kids.

So are Apps the new Formats? Do we need a coded interactive thing with filters and followers, something that mums and dads think is the devils’ work and should be banned because it turns brains to mush and is a paedophiles paradise? One thing is for sure the bottom has dropped out of the Format lecture circuit, those of us that made some cash on the side exporting our early adopter knowledge haven’t been booked for a while. Try telling a Korean T.V. executive they need a workshop, they bled us dry of our expertise and now have shown the world they can do Formats as well.

There’s a market for selling intel ask K7media, freshly expanded into new offices in central Manchester, red phone box and all. The only trade on information today is about who is doing what and where. Netflix has bumped the holy grail of I.P. ownership into touch, sell a fact ent to discovery and that a worldwide sale so no secondary stream there. So there may be more content being watched, more opportunity to find a home for our content than ever, but how do we make it pay our mortgages?

The SVoD was thought to have been the opening up of a route to the audience free of the traditional gatekeepers, of course, all we have is new gatekeepers. Its the BarcroftTV model that is really bucking the trend, doing what Jon de Mol failed to do, creating a content model that self publishes to your tube and makes the finances work. Like JOnwhoi tried to own the production house and channel. Isn’t that a tradition broadcaster anyway? When the BBC started a producer would walk up to the controllers’ office and say, “I’ve found two comedians doing the circuit can we give them a T.V. show?” controller says yes and Morecambe and Wise are born. Peter Kosminsky thinks SVoD’s have created hyperinflation in drama, and that will eventually drive drama out of PSB’s (he means the BBC). Paying 7 figures an Episode where the BBC can just scrape together the low 6s. Incidentally, if the latest sci-fi outing of AnotherLife is an example of this great new drama explosion, we are doomed.

All of which brings me back to my initial thought, is I.P. a thing anymore? Well, it should be a thing, a person who creates something should keep a portion of the rights; otherwise, we are going to be left without incentive. It’s more a question of what is that I.P. is worth. As the audiences broaden worldwide and SVod’s and subtitles become far more global, we are going to see the multiple income streams from local production diminish. Yes, International versions of shows made for a more traditional broadcaster will, of course, continue to be made. Netflix, Apple and Amazon may carry their own localised versions of shows perhaps geoblocking to provide a more globally segmented offering.

But it could all be to no avail because the clock is Tic Toc ing for this current generation of cord cut natives watching barcroftTV, Vice, Joe media and BBC3, then the content creators will have truly smashed the grip of this pesky gatekeepers. I was once heavily criticised for having an anarchic view of the “gatekeepers” people said they actually worked with the creators in partnership and I shouldn’t be so critical. I suggest you watch “How to Break into the Elite” on iPlayer. The T.V. industry comes across as one of the worst for a bias toward the upper-middle classes in terms of recruitment not only that it’s an industry rife with nepotism. It’s shocking, and Channel 4 is even worse than the BBC. T.V. is now something to do, a cool industry. The days of passionate people driven by creativity are gone. I wanted to direct since I was six, an ordinary lad from a single-parent family, state school and dyslexic, thank goodness I had a charming R.P. accent, if I’d have come from South London there’d have been no chance, if I was a PoC totally no chance, unless I was a PoC from Eaton and Oxford. It’s a national disgrace.

Everyone deserves a voice, and we should create a society of equals, with Boris at the helm leading that cabinet we have no chance. We shouldn’t be celebrating equality until we get the first black prime minister from Brixton, state school and with Russell University 1st. The same goes for T.V. until we regain passionate, creative leaders who didn’t just think T.V. was an entry pass to Soho House and a better option than P.R. or the City. I joined T.V. when it was a leveller, it didn’t matter if you were Oxbridge, Eaton or Roundwood Park secondary modern, we all had a voice, perhaps that’s what made ATV Elstree so very special.

Oh and I.P. is a thing it’s just not worth such a lot, and yes formats are still a thing, we just don’t act like its a British thing thank goodness.

Jonathan Glazier

Executive Producer & Director, Writer and Creator former BBC head of format entertainment.

11th July 2019

One Life Two Narratives

I’d like to share a recent observation and its relation to false news and modern reporting. In this world of instant narrative commentary being shared to the very palms of consumers, the need for accuracy has never been greater.

The illustration I use is a very simple one and is a result of the recent Wimbledon tennis match between Serena Williams and Alison Riske. Ms Riske was interviewed before the match, it was a really good interview and she came across as an open and engaging young woman.

She explained how she hated being told to practice and train by her father but was now enjoying the game and her success. She further explained that her father was ex-secret service on the Presidential detail and had been an FBI investigator. It painted a picture of a strict father, highly self disciplined, and during a discussion about her fiancées first meeting him, potentially quite a daunting man. It was also clear that she has a great relationship with him.

The key piece of information in the context of this piece was she mentioned that as a public servant her dad retired when she was as only five and he was looking for something to fill his time, she became that project.

All of which gave me an interesting and engaging back story to take to the impending match with Ms Williams. As with so many things any engagement with the participants adds to the viewers enjoyment, I know about Ms Williams and now i knew about her opponent.

It was a good match and after a great fight Ms Williams prevailed. I hope Mr Riske was not too hard on his daughters loss as it was excellent performance.

What really interested me was a comment made by the match commentator. He said,

“of course her dad gave up everything to coach his daughter.”

This would appear to be mis-interpreted piece of information. It may have come from another source and he was simply repeating what he believed. However, it came to be it gives Ms Riske’s backstory two entirely different angles. One the doting father enduring hardship to coach is daughter, the other a father who having retired early and possibly a bit board had decided, perhaps inspired by Serena’s own story of home schooling and parental coaching, to fashion his daughter into a star of the sport.

These are two entirely different stories, in the grand scheme of things probably only matter to Ms Riske and her immediate friends and family. But imagine if these two narratives were played out during the Bay of Pigs, the current Iran, UK and USA axis of tension, or at any time in the Brexit negotiations. Where a potentially benign situation is made toxic because of simple inaccurate representation of the facts.

As we all share and comment on everything from our best friends last meal, to the resignation of the UK’s ambassador to the USA we need to interrogate our reasoning, our arguments or our interpretation to ensure they represent reality, truth and have integrity. It is time consuming and requires thought in place of a mouse click on share. I fear that thought is being lost as the ease of commentary becomes ever simpler and ultimately thoughtless.