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Creative Sparks: Navigating the Shifts in Media and Entertainment

Navigating the Shifts in Media and Entertainment
J Glazier

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.

JG


The State of the Industry

Plan to Make Work Pay

DCMS Header

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

            Creative Industries Logo

            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

            Nikki Glaser at the Golden Globes 2025

            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

            Broadcast Logo

            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:

            1. Dare to be different: Originality and risks are paying off.
            2. Authenticity matters: Diversity works when it feels genuine.
            3. Think globally: Non-English language productions are drawing audiences worldwide.
            4. Big studios aren’t essential: Streamers and indie producers are reshaping the landscape.
            5. 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 (ER anyone?)

            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.

            Prof Alice Roberts

            Jonathan Glazier FRSA

            TV Format Consultant | Strategic Media Consulting | Production Consultant. | FAST Channel Specialist | Dyslexia Advocate | Building Connections & Teaching Through Storytelling

            January 10, 2025

            A 2025 Manifesto for Creatives suffering the freelance jobs crisis

            A 2025 Manifesto for Creatives suffering the freelance jobs crisis

            Embracing Change with Purpose

            Happy New Year! As we step into 2025, we find ourselves in an industry that’s shifting beneath our feet. The seismic changes in the TV world bring challenges—but also immense opportunities, especially for freelance creatives. I hope my take on A 2025 Manifesto for Creatives suffering the freelance jobs crisis helps.

            Manifesto v Resolutions

            This year, instead of setting resolutions, I’m drafting a manifesto—a declaration of principles and intentions to guide me through the year. It’s a response to the times we live in and a reminder that change isn’t just something that happens to us; it’s something we can shape. Resolutions are just designed to help us fail!

            The idea of a manifesto is gaining momentum, with thought leaders like Steven Bartlett and Adobe championing it as a new way to focus and achieve your goals. In their approach, a manifesto isn’t just about what you want to do—it’s about who you want to be and how you plan to impact the world. You can read more about this movement here.

            My Personal Manifesto

            This is my personal manifesto—a mood board for 2025. It’s visually oriented, which is perfect for someone like me, a dyslexic thinker. While there’s a brief written version, it’s more about values than detailed plans. Goals are included, blending personal aspirations with professional ambitions, and even a touch of manifestation.

            Many productivity systems begin by separating work and home into distinct categories. I believe this approach doesn’t reflect the reality of freelance, gig-based, and uncertain career paths, where the line between work and home is often blurred. Instead, we should embrace them as one.

            A task list should encompass all aspects of life: achieving personal goals, maintaining physical and mental health, fostering relationships, and practicing sound financial management. These areas are interconnected, influencing how we earn our income and approach what we traditionally call “work.”

            Just as the 9-to-5 office job is increasingly outdated, so too is the strict separation of work and personal life. Systems like Notion’s Second Brain advocate starting with a unified task list, and I think that’s the way forward.


            Keeping Freelancers in Mind

            But before diving in, I want to take a moment to acknowledge something important: the freelancers who are pivoting or have already pivoted away from this industry we all love. It’s not just a career decision; it’s a deeply personal and often traumatic choice. Leaving TV and media—whether to seek stability, explore new passions, or adapt to industry disruptions—doesn’t mean severing the close bonds we forge in production.

            If you’ve pivoted, know this: you’re still part of our community. Those of us who remain in the industry have a responsibility to support you and ensure these relationships stay strong. The work we do is shaped by collaboration, and that sense of camaraderie should transcend career paths.

            Now, let’s talk about how we can move forward together.

            Manifesto 2025

            A Manifesto for Freelance Creatives in 2025

            Let’s align our work with purpose and progress. Here’s my five-point manifesto for thriving in 2025:

            1. Embrace the Disruption

            The industry is changing fast, and rather than resist, let’s lean into it. Whether it’s experimenting with new formats, embracing virtual production, or diving into short-form storytelling for platforms like TikTok, this is the time to adapt and grow.

            Practical Tip: Identify one trend in your area of expertise (e.g., AI in production or the rise of FAST channels) and commit to exploring how it could enhance your work.

            2. Prioritize Collaboration Over Competition

            The best ideas are born from diverse perspectives. Let’s make 2025 the year we actively support each other as freelancers—sharing knowledge, resources, and opportunities.

            Practical Tip: Join or create a network of like-minded professionals. Platforms like LinkedIn groups, industry meetups, or creative hubs (like the RSA) are great starting points.

            3. Lead with Integrity

            The creative industries thrive on trust and respect. Integrity isn’t just a moral choice; it’s a foundation for sustainable careers. Be transparent in your dealings, fair in your collaborations, and purposeful in your projects.

            Practical Tip: Draft a personal code of ethics to guide your decisions. Include values like inclusivity, fairness, and accountability.

            4. Invest in Lifelong Learning

            The pace of change demands we stay sharp. Whether it’s mastering a new editing software, understanding emerging platforms, or honing your storytelling skills, continuous learning is essential.

            Practical Tip: Dedicate 15 minutes daily to learning. Free resources like Coursera, MasterClass, and industry webinars make it easy to upskill without overwhelming your schedule.

            5. Design for Impact, Not Ego

            Shift the focus from self-promotion to creating work that matters. Ask yourself: How does this project inspire, challenge, or uplift others? Impact resonates longer than individual recognition.

            Practical Tip: For every project, set one measurable goal that reflects its potential impact—whether it’s audience engagement, sparking meaningful conversations, or amplifying underrepresented voices.

            RSA

            A Word About My RSA Fellowship

            This year, I took a step aligned with this manifesto by becoming a Fellow of the Royal Society of Arts (RSA). The fellowship is not about recognition it is about commitment.

            The RSA is a charity whose mission is to inspire better ways of thinking, acting, and designing a fairer society. Fellows apply to join because they share these values—not because of accolades or status.

            For me, joining the RSA is about embracing:

            Inclusivity: Creating opportunities for everyone, regardless of background.

            Ethical Design: Shaping systems and practices that promote fairness and innovation.

            Integrity: Advocating for meaningful change, not self-promotion.

            I hope to contribute actively to these ideals and encourage you to explore communities and organizations that resonate with your personal values.


            Draft Your Own Manifesto

            This year, I challenge you to go beyond resolutions and create your own manifesto. Write down what matters most to you as a creative and how you intend to align your work with those principles.

            Need inspiration? Start with these prompts:

            • What change do you want to see in the industry?

            • What values will guide your decisions?

            • How will your work contribute to a better, fairer creative landscape?

            Building a Better Industry Together

            2025 is a year for optimism, creativity, and action. Let’s embrace the challenges ahead and work towards an industry—and a world—that inspires us all.

            Whether you’re staying in the industry or venturing into something new, your experience and connections are invaluable. Let’s keep supporting one another, regardless of where the road leads.

            What’s in your manifesto for this year? I’d love to hear your thoughts—share them with me or join the conversation online. Together, we can shape the future.

            Here’s to a year of positive change! draft your version of A 2025 Manifesto

            Warm regards,

            Jonathan Glazier, FRSA

            Media Consultant | TV Director | Format Creator

            #MediaInnovation #CreativeManifesto #FreelanceLife #2025Goals #TVProduction #CreativeCommunity #RSAValues #ManifestoForChange #IntegrityInMedia #AdaptAndThrive #SecondBrain #FreelanceCreatives

            Wrap-Up: Should I Stay or Should I Go The Freelance Crisis?

            Should I stay or Should i go Freelance Crisis in TV

            First of all this is the last altmedia before Christmas, I wish all friends, colleagues and readers a happy Christmas and I hope that whatever you do, 2025 is a year of calm and new chapters. I am returning to the UK after helping the Singapore version of “I can See Your Voice through production.” It will TX in January and the team have created a highly entertaining version of the show.

            As we close out 2024 and look ahead to 2025, the film and TV industry finds itself at a crossroads. For many professionals, the choice is clear but painful: Should I stay or should I go now? It’s a decision driven not just by passion, but by harsh economic realities. While some remain hopeful, seduced by the promise of a brighter future, others have already left, worn down by the hard realities of prolonged unemployment and shrinking opportunities.

            The paradox of record-breaking investments and job creation figures versus the on-ground struggles of freelancers and creatives raises critical questions about the sustainability of the industry as it currently operates. Here’s where we stand—and where we might go next.

            And just a couple of links if you are deciding if you pivot out of the TV industry. These two facebook groups are excellent sources of information and support:

            https://www.facebook.com/groups/thetvmindset

            https://www.facebook.com/groups/tvswitchup

            AI

            I’ve had some comments about AI taking jobs or threatening to take jobs. We can’t duck the single most important innovation since the internet. We need to embrace it learn it and use it. I don’t believe it heralds the end of the creative industries. It frees us to be creative. If you read up on how AI frames its decisions compared to humans we are several years away from artificial brains and decades of conscious machines. Ultimately AI will create jobs for developers and for prompt writers.

            Yes, my graphics are generated with the help of AI. I’d only ever create my own, it would take hours and the end result would be rather poor. I don’t believe I have taken an employment opportunity away from anyone. But it enables me to produce this newsletter in a reasonable time. And I hope this newsletter is a source of information and a point of discussion about the state of our industry.

            The Human Touch vs. AI: Finding Balance in a New Creative Era

            AI is here to stay. While it sparks concerns about job security and copyright infringement, it’s already widely embraced by many, including graphic artists who incorporate it into their creative processes. After conducting extensive research on this topic, I believe the way forward is to approach AI’s role in creative industries similarly to how “fair use” operates under copyright law.

            Legislating against AI’s use seems impractical—it’s impossible to “turn it off.” Instead, we should focus on defining clearer boundaries and ensuring transparency. Much like how Creative Commons tags are used to identify photo usage rights, AI-generated images and content should be tagged. This approach not only builds trust but also reinforces the value of human creativity, which remains unmatched in its originality and depth.

            AI, by its nature, aggregates knowledge and produces results based on averages. The outputs it generates are accessible to anyone, often lacking the unique spark that comes from human creativity. Scrolling through templates on platforms like Canva feels eerily similar to using AI tools: functional but rarely groundbreaking. In contrast, the work of human creators still has the power to astonish with its originality and emotional resonance.

            As a new Fellow of the Royal Society for the Encouragement of Arts, Manufactures, and Commerce (RSA), I’ve been exploring AI’s role in modern society. This organization is renowned for its thought leadership and research into societal challenges, making it an ideal space to consider how to integrate AI responsibly. Reflecting on the Luddite movement during the Industrial Revolution provides historical context for our current moment. While the Luddites resisted technological change to protect their livelihoods, today’s debates focus on ensuring that technological advancements benefit everyone—not just a privileged few.

            Of course, these shifts won’t affect all sectors equally. For instance, I recently worked with a graphic design company that used AI to create a voiceover with text-to-speech technology—a direct replacement for a voice artist. While the motivation was cost, the lack of emotional nuance in the result highlighted AI’s limitations. This tradeoff—emotion versus efficiency—is central to the ongoing conversation about AI’s role in creative industries.

            For my part, I’ve committed to clearly labeling any AI-generated graphics I use in my posts. Transparency is key, and so is fostering a discussion that values both innovation and the irreplaceable human touch. These debates are not just theoretical for me—they are part of my daily work and something I continue to engage with actively.

            Let me know your thoughts—how do you see AI shaping the creative landscape?

            This version refines the content, making it conversational and well-suited for a newsletter audience while maintaining the original’s thought-provoking tone.

            Hard Realities vs. Rosy Narratives and Should I Stay or Should I Go?

            1. Economic Uncertainty:

            Many have waited patiently for an upturn, believing the glowing headlines about investment and job growth. Yet, for most at the sharp end of production, the reality has been gaps in income, falling rates, and growing mental health challenges.

            For those who have left, the decision has been pragmatic rather than emotional: How much longer can I wait?

            2. The Role of Ancillary Sectors:

            • The rapid growth of ancillary sectors like distribution, marketing, and analytics has created new opportunities—but has it come at the cost of the production sector?

            • Should these sectors bear greater responsibility for supporting the creatives who form the foundation of the industry? Are they doing enough to ensure that the production pipeline they rely on remains robust?

            3. Global Dynamics:

            • Across regions, the dominance of global players like Netflix has raised existential questions about the preservation of local production and culture.

            • In Southeast Asia, South Korean content reigns supreme. In the Middle East, there is growing concern over the diminishing use of Arabic among younger generations, as English-language films and music dominate. These trends mirror historical worries in the UK when Australian soap operas influenced children’s accents and speech patterns in the 1970s.

            • Does the industry need a course correction to preserve cultural diversity?

            Where Do We Go From Here?

            1. Rethinking Local Production Quotas

            Governments could play a stronger role in preserving cultural identity through mandated local production quotas. While quotas may feel protectionist, they could ensure that local industries thrive in the face of globalized content.

            Historical Example: The UK’s concerns about Australian soaps in the 1970s led to government discussions about content balance to preserve local accents and culture.

            Modern Implications: Quotas could help ensure that Southeast Asia, the Middle East, and other regions continue to see their stories told by local talent.

            2. Reevaluating Tax Breaks

            Many large productions benefit from significant tax breaks to film in certain territories. But how much do these breaks truly benefit the local economy or talent pool?

            Current Reality:

            • Large productions often bring their own crew, minimizing opportunities for local talent.

            • Local economic benefits are limited to construction, food, and beverage, and rental fees for facilities.

            Proposed Solution:

            • Introduce a content tariff instead of tax breaks. The revenue could directly fund local productions and talent development, ensuring lasting benefits for the host region.

            3. Supporting the Freelance Workforce

            Freelancers are the backbone of the production sector, but they remain the most vulnerable.

            What Needs to Change:

            • Ancillary sectors should reinvest profits from distribution and marketing back into production to create a more sustainable pipeline.

            • Governments and unions must push for standardized minimum pay rates, fairer contract terms, and access to mental health resources.

            4. Balancing Global Content with Local Voices

            While global hits like The Crown or Squid Game are essential to the industry’s growth, they cannot come at the expense of local stories.

            The Cultural Question:

            • Does every country in Southeast Asia want to consume only South Korean content?

            • Does the Middle East want its youth to abandon Arabic storytelling for English narratives?

            • Striking a balance between global appeal and local relevance is critical to maintaining cultural diversity and long-term sustainability.

            A Space for Optimism?

            Despite the challenges, there are reasons to hope. The very conversations happening now—about equity in tax incentives, the importance of local content, and freelancer protections—represent an opportunity for change.

            The Freelancer Renaissance: Governments, unions, and ancillary sectors have the power to turn the tide by addressing structural issues and ensuring production remains the beating heart of the industry.

            Global Awareness: Regions are beginning to question the impact of imported content and explore ways to preserve their cultural identity through regulation and investment.

            Closing Thought: Building a Sustainable 2025

            The path forward isn’t easy, but it’s clear. If the film and TV industry is to remain both economically viable and culturally vibrant, it must recalibrate. Production must remain the core, and freelancers—those at the sharp end—must be protected and nurtured.

            The question remains: Will 2025 bring the changes needed to build a fairer and more balanced industry, or will we continue to see talent leave, taking with them the stories yet to be told?

            Let’s make it a year of action and accountability, ensuring that the industry’s golden age is more than just a headline.

            As to should I stay or should I go? Going isn’t the end, its a personal choice just don’t leave the decision to until it’s too late.

            “Exploring the paradox to uncover the truth. With decades of global production experience, I’ve seen the industry’s highs and lows firsthand. The future of film and TV depends on the answers we find.”

            Jonathan Glazier

            Media Consultant | Glazier Media Limited

            Editor, alt.media

            #FilmIndustry #TVProduction #FutureOfContent #FreelanceLife #BoomOrBust #MediaInsights #JobParadox #IndustryCrisis #CulturalPreservation #StreamingEconomy #2025Vision

            Boom or Bust? The Truth Behind the Film and TV Job Paradox

            Alt.media dec 18 Boom or Bust

            The film and TV industry has always been one of transformation and innovation. But today, it stands at a crossroads—a perplexing paradox that demands closer scrutiny. So what is The Truth Behind the Film and TV Job Paradox? On the one hand, we hear of a golden era: record-breaking investment, glowing headlines, and the promise of tens of thousands of new jobs. On the other, there’s the stark, lived reality for many: a mass exodus of talent, staggering unemployment rates, and an increasingly unsustainable future for freelance workers.

            How can both narratives be true? Is this simply a statistical misrepresentation, or does it reflect a deeper systemic imbalance within the industry? My mission with this investigation is to cut through the conflicting reports and get to the bottom of this enigma. Over the coming weeks, we’ll explore the numbers, the stories, and the shifting dynamics of this creative ecosystem. this is my personal investigation into The Truth Behind the Film and TV Job Paradox.”

            Reported Success: A Booming Industry

            Amidst the growing narrative of industry challenges, it’s important to acknowledge the success stories that paint a very different picture—a golden age for the film and TV sector, fueled by record-breaking investments and ambitious job creation efforts. Let’s delve into the numbers and initiatives driving this perception.

            Netflix and UK Investment

            Netflix has emerged as a key player in the UK’s production boom. Since 2020, the streaming giant has reportedly invested £6 billion into UK productions, supporting 30,000 jobs across cast, crew, and creative teams.

            Examples of UK-Based Hits: High-profile productions such as The Crown, Bridgerton, and The Witcher have generated significant employment and established the UK as a premier hub for high-end content creation.

            Localized Economic Impact: Netflix’s activities in the South West of England alone have generated £132 million for the economy over two years, supporting over 1,000 jobs.

            Source: Netflix Official News

            Production Spending Records

            The British Film Institute (BFI) highlights the unprecedented scale of production spending in the UK. In 2022, combined expenditure for film and high-end TV productions reached a record-breaking £6.27 billion.

            Breakdown of Spending:

            High-End TV Production: £4.29 billion (a 4% increase from the previous year).

            Film Production: £1.98 billion, marking a return to pre-pandemic levels.

            Attracting Global Projects: Big-budget international projects such as Mission Impossible: Dead Reckoning Part 1 and House of the Dragon are key drivers of this growth.

            Source: BFI Official Report

            Training Initiatives to Address Skills Shortages

            Programs like ScreenSkills have been instrumental in addressing the skills gap within the industry. Their initiatives aim to equip tens of thousands of workers with training in high-demand areas like post-production, VFX, and digital technology.

            Focus Areas:

            Post-Production and VFX: These sectors are experiencing exponential growth, with major studios relying heavily on specialized talent.

            On-the-Job Training: ScreenSkills collaborates with major studios and production hubs to ensure new entrants are production-ready.

            Reported Impact: Thousands of workers have received training, filling critical roles across the country.

            Source: ScreenSkills Official Site

            The Perception: A Golden Age

            Taken together, these figures and initiatives paint a picture of an industry thriving on the back of massive investment, global demand, and strategic growth. Headlines herald this as a golden age for UK film and TV, with opportunities seemingly everywhere. However, the reality on the ground often tells a different story—one of instability, unemployment, and systemic challenges that remain unaddressed.

            The question is: Are these numbers telling the whole story, or do they gloss over significant disparities in how this boom is distributed across the workforce?

            In the next section, we’ll look beyond the headlines to explore the ground-level reality—stories of freelancers and creatives struggling to survive despite the industry’s supposed success.


            Ground-Level Reality: Crisis in Employment

            While headlines celebrate record-breaking investments and job creation, the on-ground reality for many industry professionals tells a much darker story—one of instability, burnout, and a growing exodus from the film and TV industry. For freelancers and sharp-end production workers, the boom often feels like a bust.

            Unemployment Rates: A Stark Statistic

            Union reports and surveys paint a grim picture of unemployment within the industry. In the UK, BECTU (Broadcasting, Entertainment, Cinematograph, and Theatre Union) reports that up to 70% of freelancers remain unemployed, a figure echoed globally among creative professionals.

            Impact of Strikes: The SAG-AFTRA and WGA strikes in 2024 halted production across Hollywood, rippling into global markets. Productions stalled or were canceled, leaving countless workers without income for months.

            Source: Variety

            Freelancer Accounts: Social media platforms have become outlets for professionals detailing months without work. Many report leaving the industry altogether, unable to sustain themselves during prolonged gaps between contracts.

            Freelancer Exodus: Unsustainable Work Conditions

            For many freelancers, the rising cost of living combined with irregular income has become unbearable. The dream of working in film and TV has turned into a financial nightmare.

            Burnout and Mental Health: The pressures of juggling short-term contracts, maintaining equipment, and chasing late payments have led to increasing mental health challenges among freelancers.

            Exodus to Other Industries: Former industry workers are transitioning to more stable careers, including corporate video production, live events, or entirely unrelated fields.

            Example: In the UK, BECTU has highlighted that a lack of work and unsustainable pay has disproportionately affected mid-career professionals, leading to an alarming loss of experienced talent.

            Global Economic Challenges: A Squeezed Industry

            Economic pressures, including inflation, shrinking budgets, and a streaming plateau, are exacerbating challenges across the board.

            The Streaming Plateau: After years of rapid growth, streaming platforms like Netflix and Disney+ are scaling back. Disney, for example, announced significant budget cuts to content production in 2024.

            Source: Hollywood Reporter

            Rising Costs of Living: Inflation has hit freelancers particularly hard, with costs for rent, utilities, and equipment maintenance far outpacing average pay rates.

            Production Consolidation: Major studios are reducing the number of greenlit projects, focusing on fewer, high-budget productions that leave smaller independent crews out of work.

            Perception: Left Behind by the Boom

            For those on the front lines of content creation, the narrative of a booming industry feels disconnected from their lived experience. Instead of opportunity, many see:

            Inconsistent Workflows: Prolonged periods of unemployment and increasing competition for fewer jobs.

            Falling Rates: Stagnating or shrinking pay rates, even as the cost of living rises.

            Lost Careers: Talented professionals exiting the industry due to unsustainable working conditions.

            Personal accounts from freelancers in the US and UK highlight the challenges faced by those in the industry:

            Alyssa Clark, a writer on Servant and The 100, describes the current landscape: “It’s brutal out there. Most of my acquaintances are taking other jobs to survive.”

            Gideon Yago, who has written for The Newsroom and The Mosquito Coast, shares his experience: “I haven’t had a single conversation with anyone in the industry that hasn’t expressed fear and frustration. That’s really, really bad when you’re in the enchantment and entertainment business.”

            • A UK-based freelancer’s resignation letter, shared within industry groups, states: “This has really struck a chord with me… I’m currently feeling like quitting myself.” The letter has prompted multiple responses from others revealing similar experiences and struggles, with several saying they too had decided to leave the industry this year.


            The Divide Between Headlines and Reality

            While job creation figures are celebrated in headlines, the on-ground reality reflects systemic instability, particularly for the freelance workforce. This disconnect raises important questions: Are the jobs being created accessible to those who need them most? And can the industry survive if its foundational talent continues to leave in droves?

            In the next section, we’ll explore how this crisis ties into the broader transformation of the industry and the shift from production roles to ancillary sectors.


            The Shift from Production to Ancillary Roles

            In the early days of the film and TV industry, nearly all roles were tied directly to the creation of content—camera operators, lighting techs, writers, producers, and editors. These are the “sharp-end” production jobs responsible for the physical making of a project. Over time, the industry has diversified and grown to include ancillary sectors:

            1. Distribution and Marketing:

            • Content is now sold globally across multiple platforms—linear TV, streaming, social media, and FAST channels—requiring more professionals in licensing, marketing, and analytics.

            • Streamers and networks employ vast teams to manage audience engagement, monetization, and sponsorships.

            2. Corporate and Administrative Jobs:

            • Studios and production companies now hire in-house teams for HR, legal, compliance, and IT infrastructure, supporting global operations.

            3. Post-Production and Tech-Driven Expansion:

            • High-end post-production, VFX, and emerging fields like AI-driven content creation and data-driven viewer analytics are booming.

            4. Facilities Management:

            • With the rise of studio hubs like Shepperton or Pinewood, there’s an increase in jobs maintaining soundstages, managing logistics, and running four-wall operations.

            Is This Shift Behind the Disparity?

            Production Jobs Are Declining:

            Automation and Streamlining: Advancements in technology (e.g., virtual production, AI for scripts and editing) have reduced the number of roles needed on set. A single camera operator can do the work that once required several people.

            Project-Based Nature: Productions often last months, leaving workers unemployed between projects. By contrast, ancillary roles like marketing or distribution tend to be more stable.

            Globalized Outsourcing: Parts of production, like VFX or animation, are often outsourced to cheaper markets, bypassing local workers entirely.

            Ancillary Jobs Are Increasing:

            Verification and Scalability: These jobs are easier to count and justify in employment figures because they tend to be full-time and longer-term, even if they don’t contribute directly to content creation.

            Growing Complexity of Content Sales: The boom in streaming has shifted priorities toward how content is sold, marketed, and monetized globally rather than how much is produced.

            Are We Heading for a Crash?

            If the industry’s foundational production roles are shrinking, it creates a house of cards effect for ancillary sectors: is this the source and The Truth Behind the Film and TV Job Paradox?

            1. Dependent on Content Creation: Marketing, distribution, and sponsorship jobs depend entirely on the content pipeline. If production slows—whether due to strikes, budget cuts, or a plateau in streaming—their roles become redundant.
            2. Overinvestment in Non-Creative Sectors: Companies are pouring resources into scaling distribution, analytics, and marketing, but this is unsustainable if production cannot keep pace.
            3. Feedback Loop: Reduced production affects not just sharp-end jobs but also services tied to them, like catering, logistics, and equipment rentals.

            Potential Warning Signs:

            Economic Plateau: If the content “boom” levels off, the ancillary job market will face significant contraction.

            Skills Imbalance: Workers leaving sharp-end roles may not easily transition into ancillary jobs, leading to widespread industry unemployment.

            Overdependence on Big Streamers: If giants like Netflix cut budgets, their entire ecosystems—local productions, global distribution teams—are at risk.

            What Does This Mean for the Industry?

            This transition suggests we may be over-indexing on short-term gains (jobs in ancillary sectors) while underestimating the long-term risks:

            1. A Bubble in Ancillary Jobs? As the demand for sharp-end production diminishes, the growing layers of marketing and distribution jobs could become unsustainable.
            2. Need for Balanced Growth: Without robust and consistent production output, the industry risks alienating the workforce and destabilizing the ancillary sectors dependent on it.
            3. Reassessing Job Metrics: Job creation figures may be inflated by counting ancillary roles, which do not reflect the health of the industry’s creative foundation.

            The Takeaway:

            Yes, the rise of ancillary roles and the decline in production jobs could explain the disparity in job figures. But this trend is unsustainable if the industry’s core—content creation—continues to shrink. A significant slowdown in production would ripple through all sectors, potentially leading to a systemic crash.

            On Friday, I will end this series by attempting to look to the future and provide some thoughts on the question, “Should I Stay or Should I Go Now?”

            “Exploring the paradox to uncover The Truth Behind the Film and TV Job Paradox. With decades of global production experience, I’ve seen the industry’s highs and lows firsthand. The future of film and TV depends on the answers we find.”

            Jonathan Glazier

            Media Consultant | Glazier Media Limited

            Editor, alt.media

            #FilmIndustry #TVProduction #BoomOrBust #FreelanceLife #JobParadox #MediaInsights #IndustryCrisis #BehindTheNumbers #FutureOfContent #CulturalPreservation #LocalProduction #StreamingEconomy

            The Netflix Perfect Storm

            Alt.media Jonathan Glazier Special Edition

            Netflix: A Global Strategy with Local Impact 🌍

            Netflix’s rise as a global streaming giant isn’t just about scale—it’s about its ability to resonate locally. The company’s massive investments in regional productions have driven both subscriber growth and content success. Here’s a breakdown of key figures, trends, and predictions for the future:

            Netflix: A Global Strategy Regional Revenue and Subscribers (2023-2024)

            United States/Canada: $14.87 billion in revenue, 84.8 million subscribers, ARPU $17.06

            Europe, Middle East, Africa (EMEA): $10.55 billion in revenue, 96.13 million subscribers, ARPU $10.99

            Latin America: $4.44 billion in revenue, 49.18 million subscribers, ARPU $8.40

            Asia-Pacific: $3.76 billion in revenue, 52.6 million subscribers, ARPU $7.31

            United Kingdom: £1.7 billion ($2.1 billion) in revenue, 17.3 million households, ARPU £8.19/month ($10.35)

            Netflix: A Global Strategy Regional Production Investments

            Global: $13 billion in 2023, $17 billion projected in 2024. Over 50% of spending is outside North America, with Europe receiving ~35%.

            United Kingdom: $6 billion (2020-2023). Local hits include The Crown and Sex Education, employing 30,000+ in production roles.

            South Korea: $2.5 billion (2023-2027). Major success with Squid Game and continued focus on K-content.

            Spain: $400 million (2020-2023). Hits like La Casa de Papel and Élite showcase Netflix’s Spanish storytelling prowess.

            Mexico: $300 million in the last three years. Over 50 original productions cementing Netflix’s dominance in the region.

            Colombia: $175 million since 2014. More than 25 original titles produced; Bogotá office established in 2021.

            European Union: Production has increased to meet the 30% local content quota, with Lupin (France) and The Crown (UK) leading the charge.

            NB, it is worth noting that the BBC has an income (not a production spend) but income from the licence fee totalling £3.66b. While this has remained stable and is a point of envy for those operating in more volatile economic markets, the sum invested in production is insignificant compared to Netfix. One wonders how it can compete and for how long.

            Trends and Predictions for Netflix

            1. Subscriber Growth Plateauing in Mature Markets:

            Regions like the US, Canada, and the UK are seeing a slowdown in subscriber growth due to market saturation. However, ARPU remains high, contributing significantly to revenue.

            2. Emerging Markets as Growth Drivers:

            Asia-Pacific and Latin America will continue to drive subscriber growth as Netflix invests in affordable mobile plans and localized content to cater to these audiences. Expect aggressive growth in markets like India, Indonesia, and Brazil.

            3. Increased Local Productions:

            Content quotas (e.g., Europe’s 30% local content rule) and rising demand for culturally specific stories will push Netflix to invest even more in regional production hubs. South Korea, India, and Spain will likely see major increases in budgets.

            4. Shift to Franchise Building:

            Following the success of The Witcher, Stranger Things, and Squid Game, Netflix is likely to focus on building global franchises that can fuel spin-offs, merchandise, and multi-format storytelling.

            5. Challenges Ahead:

            Rising Competition: With Disney+, Amazon Prime, and local players ramping up, maintaining dominance will require smarter pricing strategies.

            Profitability Push: Investors expect better cost management, meaning some regional content investments could slow unless high ROI is guaranteed.

            6. Future ARPU Growth Opportunities:

            Ad-supported tiers and password-sharing crackdowns are helping Netflix monetize better in regions with lower ARPU, like Latin America and Asia.

            Conclusion

            Netflix’s ability to balance global appeal with local resonance is what sets it apart. While mature markets stabilize, the company’s bets on emerging markets and franchise building will shape its next decade.

            📈 Prediction: Expect subscriber numbers to hit 300 million globally by 2027, with over 60% of revenue coming from outside North America. Investments in local production will cross $20 billion annually by 2026, as Netflix solidifies its role as the world’s leading content creator.

            Postscript: My Thoughts on the Perfect Storm

            The audience has globalized. A show made in Asia today, like Squid Game, travels the globe effortlessly, reaching an audience far larger than shows from a decade ago. But this shift comes at a cost: fewer shows are being made overall, contributing to the dire plight of creatives worldwide.

            There are simply not enough projects to support the workforce. Rival streamers operate on similar business models, and local broadcasters have seen their incomes decimated by VOD platforms. It’s a perfect storm.

            For the consumer, there’s incredible content—Black Doves, Slow Horses, The Day of the Jackal, Squid Game, The Heist, to name a few. But the price is the decline of low- and mid-budget series, which once sustained the creative workforce.

            Reality TV is making strides on streaming platforms, but it’s still far from the volume we saw on network television.

            What’s next? Can the industry balance quality and quantity to support both consumers and creatives?

            Let’s discuss.

            Jonathan Glazier

            Consultant | Media Specialist

            #Netflix #Streaming #GlobalStrategy #LocalContent #CreativeEconomy #SubscriberGrowth #PerfectStorm

            How Did Korea Smash the Format World?

            How Did Korea Smash the Format World?

            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 Singapore

            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.

            The Maked Singer

            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

            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.

            Stop Chasing the Next Big Thing: Part Two

            Stop Chasing the Next Big Thing

            Picking up from last week’s Sam Barcroft-inspired post, Stop Chasing the Next Big Thing on why pitching passion projects can often be a waste of time, let’s dive deeper.

            Passion is essential in any pitch—but it’s not just about being passionate; it’s about what you’re passionate about. Watch any episode of Dragons’ Den or Shark Tank (yes, they’re the same show), and you’ll notice a pattern: the most successful pitches solve a real problem or meet a tangible need. So Stop Chasing the Next Big Thing!

            Interestingly, even when an idea is a non-starter, the best pitchers often walk away with job offers. Why? Because their passion is grounded in their ability to sell, adapt, and connect—not just in their attachment to a “passion project.”

            Here’s the truth: the “next big thing” is often an illusion. Success lies in taking the last big thing and doing it better or differently. The real challenge is identifying the next big trend and transforming it into entertaining, engaging content that resonates with audiences.

            4. Innovation Through Iteration: Reinventing Presentation, Not Content

            In an era where the “next big thing” feels like a constant chase, true innovation often lies in how you package your content, not in reinventing the wheel.

            Take the true crime genre: a familiar format that continually reinvents itself. The stories haven’t changed—mystery, suspense, and justice—but the way they’re told evolves.

            Dramatic reenactments add cinematic flair, making the experience feel like a movie.

            Master interviews bring gravitas and legitimacy, heightening audience trust.

            Archival footage and raw audio transport viewers directly into the story, creating an immersive experience.

            The lesson? Don’t feel pressured to abandon what works. Instead, ask yourself: How can I make my content feel new without losing the essence of what audiences already love? Whether it’s fresh editing styles, creative use of graphics, or a new perspective, iteration keeps audiences engaged without alienating them.

            5. The Art of Consistency: Lessons from the Masters

            Think of iconic artists like Van Gogh, Warhol, or even contemporary filmmakers like Wes Anderson. Their brilliance isn’t just in their creativity—it’s in their consistency. Audiences know what to expect, yet they’re always delighted by the details that surprise them.

            In media, the same principle applies.

            • Shows like The Great British Bake Off thrive because of their reliable structure: challenges, camaraderie, and comforting storytelling. The innovation comes in small details, like themed weeks or fresh contestants—not a reinvention of the format.

            • Consistency builds trust. When viewers recognize your “style,” they’re more likely to stick with you, knowing you deliver on their expectations.

            As creators and producers, take a page from the masters: Understand your audience deeply, and refine what works. Wild reinventions may grab headlines, but consistency keeps audiences coming back.

            6. Success Is a Moving Target: Monitor, Adapt, Deliver

            In today’s media landscape, success isn’t static. It’s a constantly shifting target, dictated by evolving viewer habits and technological advancements.

            Monitor: Use analytics, audience feedback, and industry trends to keep a pulse on what’s changing. For example, platforms like TikTok and YouTube Shorts signal that short-form, snackable content is where many younger audiences live.

            Adapt: Adjust your strategies to meet audiences where they are. This doesn’t mean abandoning long-form content but integrating formats that complement their habits, like behind-the-scenes snippets or live Q&A sessions.

            Deliver: Stay one step ahead. Think of Disney+ or Netflix, which leverage data to anticipate shifts in consumption and release content tailored to those insights. Your focus should be not just where the audience is now, but where they will be.

            In practice, this means staying flexible while holding onto your core values. Whether you’re experimenting with a new platform, format, or strategy, remain true to your brand while delivering content in a way that feels timely and relevant.

            Final Thoughts on Stop Chasing the Next Big Thing

            The pressure to chase the “next big thing” is real, but the path to success lies in a different approach. Iterate, stay consistent and adapt to change. By focusing on these fundamentals, you’ll not only stay ahead of trends but also build a loyal audience that values your work for the long haul.

            What’s your take? Are you focused on iteration, consistency, or adaptability in your work? I’d love to hear how you’re navigating the shifting media landscape.

            Stop Chasing the Next Big Thing

            Stop chasing the Next Big Thing by Jonathan Glazier

            Aligning Creativity with Market Demand: The Foundation of Success

            So, Stop Chasing the Next Big Thing because in the world of content creation, the allure of crafting something purely driven by personal passion can be powerful but ultimately a waste of time. After all, creativity thrives when we’re inspired, and personal projects often feel more authentic. But when it comes to achieving success in a market-driven economy, relying solely on passion can lead to disappointment if your creation doesn’t align with what audiences—or commissioners—actually want. My FAQ on formats may help you.

            The harsh reality is this: audiences don’t care about your personal passion. They care about their needs being met, so Chasing the Next Big Thing is futile. Whether it’s entertainment, escapism, information, or a sense of connection, the success of any TV show, format, or production lies in its ability to solve a problem or fulfil a demand for the target market.

            Why Demand-Led Production Works

            At its core, a market-driven approach ensures you’re creating for an existing or emerging audience. Here’s why this matters:

            1. Relevance Equals Resonance

            Creating content aligned with market trends ensures your project resonates with viewers. A show that taps into current cultural moments or audience desires will stand out among the sea of offerings competing for attention.

            1. Efficiency of Effort

            Producing for a proven demand reduces the risks of wasting time, money, and creative energy on something that audiences don’t connect with. Instead of gambling on a passion project, you’re investing in something with a higher likelihood of success.

            1. Sustainability of Success

            When you solve a problem or meet a need, you build trust with your audience. Over time, this trust can grow into loyalty, creating sustainable viewership or engagement for your brand or production company.

            Personal Passion vs. Market Demand: A False Dichotomy

            It’s easy to think of market demand and personal passion as opposites, but the two don’t have to be mutually exclusive. The most successful creatives find ways to align their passion with what the market wants. they may be Chasing the Next Big Thing but its probable not on their BBC 4 playlist!

            For instance, take The Great British Bake Off. It wasn’t just a baking show—it tapped into the growing cultural trend of celebrating homemade food, nostalgia, and community. The creators’ passion for baking found a perfect match in the audience’s appetite for feel-good, relatable programming.

            Lessons from the Trenches

            The reality of the media industry is littered with failed pitches that were Chasing the Next Big Thing and that ignored this principle. For years, producers chased their personal visions, crafting shows they loved but that no one wanted to buy. The turning point came when they stopped focusing on what they wanted to make and started focusing on what broadcasters and platforms desperately needed.

            One such example is Sam Barcroft’s pivot to creating demand-led programming. By analyzing market gaps and listening to audience behavior on social media, his team built shows tailored to specific needs. This strategy resulted in massive success, including landing one of the first UK-produced Netflix Original series.

            The Takeaway

            To thrive in a market-driven economy, creators must shift their perspective: stop thinking about what you want to create and start thinking about what the audience wants to consume. Look at what problems your content can solve. Whether that’s filling a genre gap, catering to underserved audiences, or delivering content in a way that’s more accessible, the key is to let the demand guide your supply.

            As Sam Barcroft aptly put it: “Nobody cares about your pitch. They just want their most important problem solved.”

            In the next section, we’ll explore how to identify the emerging markets and platforms where your ideas can thrive. Let’s build not for the next big thing, but for the next big trend.

            Marketplaces of the Future: Where Will Audiences Flock Next?

            The media landscape is shifting rapidly, with audiences dispersing across an ever-expanding variety of platforms. Gone are the days when traditional broadcasters held a monopoly over eyeballs. Today, the content marketplace is splintered, and the winners are those who can predict where their audience will land next.

            The Rise of FAST Channels

            Free Ad-Supported Streaming Television (FAST) channels are one of the most significant growth areas in today’s media world. These platforms—such as Pluto TV, Tubi, and Samsung TV Plus—offer free, linear-style programming with minimal barriers to entry for audiences.

            Why FAST Channels Matter:

            1. Ad Revenue Model: Unlike subscription-based services, FAST channels thrive on advertising dollars, making them accessible to wider audiences who are subscription-fatigued.
            2. Curated Niche Offerings: Many FAST channels cater to hyper-specific interests, such as true crime, retro sitcoms, or even single-show marathons. This specificity appeals to audiences who feel overwhelmed by choice on larger platforms.
            3. Expanding Reach: FAST platforms are rapidly gaining traction in key markets like the U.S., Europe, and Asia, with global FAST revenue projected to exceed billions by the end of the decade.

            For production companies, this presents an incredible opportunity. By understanding the niches within the FAST ecosystem, you can tailor content to these channels, creating lower-budget, high-volume programming that thrives in these curated spaces.

            Niche-Driven Markets: Fewer Choices, More Focus

            The abundance of content on streaming platforms has created a paradox: too much choice often leads to decision paralysis. As a result, audiences are gravitating toward niche-focused markets, where content feels tailored to their specific tastes.

            Examples of Niche Markets Thriving Today:

            True Crime: This genre continues to dominate with loyal viewership across platforms, from Netflix to FAST channels like Crime+Investigation.

            Royal Documentaries: Audiences with an insatiable curiosity for royal families are flocking to shows like The Crown or dedicated docuseries on streaming platforms.

            Wellness and Mindfulness Content: As audiences prioritize mental health, platforms like YouTube and niche apps such as Gaia cater to this growing demand.

            Why Niche Markets Work:

            1. Loyal Audiences: When viewers find content that aligns with their interests, they tend to stick around longer, leading to higher engagement and retention.
            2. Lower Competition: Hyper-focused content faces less direct competition compared to broadly targeted shows.
            3. Brand Authority: Producing in a niche allows you to become the go-to authority in that space, creating trust and loyalty.

            Understanding Audience Behavior

            Predicting where audiences will flock next starts with understanding their behavioral patterns:

            1. Data-Driven Insights: Platforms like Netflix and YouTube have perfected the art of using data to understand what audiences want and when they want it. Production companies must also embrace analytics to shape content strategies.
            2. Engaging Social Media Trends: Social platforms often act as early indicators of what’s capturing attention. Monitoring TikTok trends, Instagram engagement, or even Reddit communities can reveal untapped opportunities.
            3. Globalization of Audiences: As international platforms expand, it’s important to recognize how diverse cultural preferences shape content consumption. What works in the UK may not work in Southeast Asia—and vice versa.

            Future-Proofing Your Production Company

            To survive and thrive in the marketplace of the future, production companies must focus on adaptability. Here’s how:

            Develop Multiple Revenue Streams: Diversify your portfolio by creating content that works across platforms—streamers, FAST channels, and even YouTube.

            Tailor for Emerging Platforms: Identify up-and-coming platforms and customize content for their unique needs. For example, short, snappy formats work well for TikTok, while serialized storytelling thrives on streaming platforms.

            Monitor Shifts in Engagement: Audiences evolve. A platform that’s booming today might stagnate tomorrow (RIP Quibi). Stay ahead by continuously evaluating platform growth and decline.

            The Takeaway

            Audiences today are looking for more than just “the next big thing.” They’re seeking content that speaks to them, in spaces where they feel understood and valued. Whether it’s a FAST channel offering nostalgia-driven marathons or a niche YouTube channel that dives deep into wellness, understanding where your audience is—and where they’ll be—can help you stay ahead of the curve.

            In the next section, we’ll explore how to intelligently capitalize on trends without becoming a clone factory. Let’s talk about “Trends, Not Clones: How to Capitalize on Audience Demand.”

            Trends, Not Clones: How to Capitalize on Audience Demand

            The success of Traitors proved a seismic moment for television. With its blend of psychological gameplay and dramatic storytelling, the show captured imaginations worldwide. In the wake of its popularity, every network and producer wanted their version of the same concept: a game of deception where trust is tested. And while imitation is the sincerest form of flattery, it rarely guarantees long-term success.

            Instead of producing clones, smart content creators use these moments to intelligently follow trends—adapting what’s resonating with audiences to their own unique niches, genres, and platforms. This isn’t about creating a carbon copy but understanding the underlying demand and evolving it into something new and engaging.

            Why Clones Fall Short

            When something as successful as Traitors emerges, the immediate temptation is to recreate it—same mechanics, same premise, same tone. The problem? Clones often suffer from the following issues:

            1. Market Saturation: When everyone rushes to create similar content, audiences quickly tire of the repetitive format.
            2. Lack of Originality: A copied idea lacks the spark that made the original unique, leaving it as a pale imitation.
            3. Missed Opportunity: Clones often fail to dig deeper into what truly captivated audiences, missing the chance to build on the trend in a meaningful way.

            Adapting the Traitors Effect

            Instead of cloning Traitors, successful production companies analyzed its core appeal:

            The “Hidden in Plain Sight” Gameplay: Audiences loved watching contestants try to outwit each other, often playing on themes of trust and betrayal.

            The Psychological Tension: The emotional stakes—watching alliances crumble and lies unravel—kept viewers hooked.

            Universal Human Dynamics: The show resonated because it tapped into timeless human behaviors like deception, loyalty, and survival.

            These elements can be adapted and innovated into countless other formats. For instance, a production company might create:

            • A scripted drama series exploring betrayal and deception in a corporate environment.

            • A reality competition with the same “hidden traitor” concept but set in a survivalist setting.

            • A family-friendly version focused on teamwork and trust-building, tapping into a younger audience.

            By identifying why audiences connected with the original, you can create something fresh and compelling that evolves the trend rather than copying it.

            Niches That Thrive by Adapting Trends

            Some genres, like true crime and royal access, are particularly adept at capitalizing on trends without falling into the trap of cloning.

            1. True Crime

            • True crime has remained a powerhouse genre because it evolves with audience preferences. Early iterations focused on investigative documentaries (America’s Most Wanted), while newer adaptations incorporate dramatizations (Mindhunter), podcasts (Serial), or docuseries (Making a Murderer).

            Example of Adapting Trends: A producer might notice the rising popularity of AI and tech crimes and create a series examining the impact of hacking, deepfakes, or cyber deception.

            1. Royal Access

            • The fascination with royalty is perennial, but its presentation changes with the times. Shows like The Crown blend dramatized storytelling with historical accuracy, while documentaries like Harry & Meghan bring modern relevance and controversy to the genre.

            Example of Adapting Trends: A royal-focused series could tap into the global popularity of sustainability by exploring the role of modern royal families in combating climate change or addressing social justice issues.

            The Key to Longevity: Innovate Within the Trend

            Niches and genres that thrive don’t abandon what works; they innovate within their framework:

            True Crime: Adding elements like immersive VR storytelling, exploring underrepresented voices, or focusing on crimes in unexpected settings.

            Royal Access: Experimenting with unique formats, such as a limited docuseries told from the perspective of palace staff, or scripted shows that fictionalize alternate royal histories.

            Don’t Zigzag Erratically—Build Methodically

            Jumping from trend to trend without understanding the audience’s deeper needs is like throwing spaghetti at a wall to see what sticks. Instead, successful producers stay focused on:

            1. Audience Behavior: What are they drawn to? Why do they stay engaged?
            2. Genre Evolution: How can the format grow while staying familiar?
            3. Platform Fit: Where is this content most likely to thrive?

            For instance, a traditional true crime documentary might work well on Netflix or BBC, while a shorter, edgier version could thrive on a FAST channel with a dedicated crime audience.

            The Takeaway

            Success isn’t about zigging while others zag; it’s about following trends intelligently. By understanding what made a show like Traitors resonate and applying those insights to your own creative endeavors, you can capitalize on audience demand without falling into the trap of imitation.

            In the next newsletter, we’ll delve into how genres innovate by evolving their presentation rather than overhauling their core. Let’s explore “Innovation Through Iteration: Reinventing Presentation, Not Content.”

            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