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

Discover more from Jonathan Glazier

Subscribe to get the latest posts sent to your email.