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?
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
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.
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 Offthrive 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.
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:
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.
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.
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:
Ad Revenue Model: Unlike subscription-based services, FAST channels thrive on advertising dollars, making them accessible to wider audiences who are subscription-fatigued.
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.
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:
Loyal Audiences: When viewers find content that aligns with their interests, they tend to stick around longer, leading to higher engagement and retention.
Lower Competition: Hyper-focused content faces less direct competition compared to broadly targeted shows.
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:
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.
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.
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:
Market Saturation: When everyone rushes to create similar content, audiences quickly tire of the repetitive format.
Lack of Originality: A copied idea lacks the spark that made the original unique, leaving it as a pale imitation.
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.
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.
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:
Audience Behavior: What are they drawn to? Why do they stay engaged?
Genre Evolution: How can the format grow while staying familiar?
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.” 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
The Great Hack is a superb watch, compelling even if you forget the implications of the story because the characters are fascinating. In particular, Brittany Kaiser, why does a Bernie Saunders voting, former green peace advocate and brilliant woman end up working for the Trump campaign through Cambridge Analytica? Was she seduced by the anarchy and power of the undoubtedly charismatic Steve Bannon, or was it her family’s dire financial circumstances? This is something the film doesn’t address in any depth. Nor does it look at how all the leading players at Cambridge Analytica have simply started up precisely the same kind of company after dissolving CA. Although we do get the impression they filed for bankruptcy to avoid their legal responsibilities. The money and power screams of an Illuminati conspiracy theory. All that said this is a must-watch show, brilliantly made. Chilling imagery of our data being collected and shots of those “innocent” quizzes we have all clicked on Facebook bring home the reality of data collection. There’s one caveat I’d add, who did anything wrong? Sure the ownership of our own data is something we should all debate. But all recent elections target the swing vote. All parties seek out the “persuadables“, why is it so shocking and called election influencing when it’s been happening since the mid-’50s. Once upon a time, it was Mr Murdoch who was the alleged kingmaker. Yes, the stories used today to target the swing voters are despicable, mostly false but very effective, why are we so surprised? I think the most insidious thought being the platforms we use to post cute cats are the ones being used to split society apart and the fact that Russia and other foreign powers are using the same techniques to subvert our democracy. Vice wrote an excellent review here, saying the great hack mostly missed the point. That point being, we are entering into surveillance capitalism, but that’s been the case for years, the powerful have been keeping the masses in their place using every trick in the book. Supermarkets have been employing psychologists for years placing impulse buys in precisely the right place in the store etc. The infamous “torches of freedom” smoking campaigns designed to get women to equate smoking with their emancipation in the late 1920s were an example of early manipulation by large wealthy corporations using Edward Bernays and the psychoanalyst A.A. Brill. So while it is a must-see “The Great Hack” is really about the modern-day techniques being used today, the fact that it’s got so much easier to farm data thanks to the large internet corporations. I think we all half expect our governments to hold data about us, perhaps our banks and medical institutions, suddenly we discover a bunch of college kids with an app have 100 times the data, and we gave it up ourselves so easily is a shock. If I am honest, I don’t know why we actually give our trust so easily to governments, medical institutions and of all places banks.
The last Alaskans is a remarkable series. We all know the pain of getting quiet reserved people to talk on camera. This is where this series really succeeds for me. Seeing these people, particularly the men open up in such an emotional way is heartwarming. These are the last 8 or 9 families living in the Alaskan wilderness, once the last children of the current permit holders die, no more permits will be issued. Contrary to popular belief is is possible to fail capturing spectacular scenery, this series does not fail, it is beautifully shot. The drone shots are lovely and the IV and cabin interiors take you right into their lives.
For me though it’s the story telling that succeeds so well and that centres on relationships. The relationships within the families and the families relationship to nature. I am no supporter of hunting or trapping, this show does help square some of those issues. For these families it is about survival and actually their relationship with nature actually does help preserve it, probably much more than most non hunters. But don’t judge me take a look at this gem of a show.
As love Island breaks ratings records in the uk it’s interesting to see the US version struggling. Is Love Island one of the many ideas that just doesn’t translate? And why is that? Certainly the US VO lacks the wit and charm of Ian’s fantastic effort here. Also the US version to me feels more like unscripted drama, or a game show with people really chasing fame at any cost. The UK version actually feels more authentic, yes I did say that! But the inmates actually seem to be searching for relationships while acknowledging the Love Island “experience.”
All this against series 2 of the rebooted Temptation Island producing solid ratings. I was at FOX for the first outing but had left by the time of the UK version. I am fascinated by cultural differences particularly between countries that share language and seemingly so many other touch points. Yet still there are major differences that polarise our cultures. It highlights the fact that cultural differences are random and often hidden. A common language helps us identify and understand. But it also shows just how much care is required when language is also a barrier.
