Creative Sparks: Navigating the Shifts in Media and Entertainment

A Personal Note: Why I Write This Newsletter

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

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

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

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

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

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

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

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

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

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

The State of the Industry

Plan to Make Work Pay

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

Key Components of the Plan:

Strengthening Statutory Sick Pay (SSP):

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

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

Regulation of Zero-Hours Contracts:

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

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

Modernizing Industrial Relations:

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

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

Enhancing Redundancy Protections:

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

Consultation Process:

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

Employment Rights Bill:

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

Recent Developments:

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

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

Creative Industries Taskforce

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

Objectives of the Taskforce:

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

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

Members of the Creative Industries Taskforce:

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

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

• Francesca Hegyi OBE: CEO, Edinburgh International Festival.

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

• Caroline Norbury OBE: CEO, Creative UK.

• Stephen Page: Executive Chair, Faber.

• Caroline Rush CBE: CEO, British Fashion Council.

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

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

• Lynn Barlow: Academic and TV Producer.

• Tracy Brabin: Mayor of West Yorkshire.

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

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

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

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

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

Recent Developments:

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

Significance of the Creative Industries:

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

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

The Golden Globes

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

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

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

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

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

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

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

The Awards

Taken from Broadcast read the full piece here

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

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

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

Kimble highlighted some groundbreaking moments:

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

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

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

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

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

The Bigger Picture

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

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

Takeaways for Creators

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

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

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

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

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

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

New & Returning Series to Watch

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

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

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

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

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

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

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

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

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

Jonathan Glazier FRSA

January 10, 2025

24th January 202524th January 2025

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?

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

24th January 202524th January 2025

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

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.”

30,000 jobs or 70% unemployment, what is the truth

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:

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?

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.
Overinvestment in Non-Creative Sectors: Companies are pouring resources into scaling distribution, analytics, and marketing, but this is unsustainable if production cannot keep pace.
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:

A Bubble in Ancillary Jobs? As the demand for sharp-end production diminishes, the growing layers of marketing and distribution jobs could become unsustainable.
Need for Balanced Growth: Without robust and consistent production output, the industry risks alienating the workforce and destabilizing the ancillary sectors dependent on it.
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

27th November 202427th November 2024

Transferable Skills for Freelance TV Crews considering a switch.

Transferable Skills for Freelance TV Crews Considering a Career Shift

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

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

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

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

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

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

1. Camera Operators and Cinematographers

Transferable Skills:

• Expertise in framing, composition, and visual storytelling.

• Technical proficiency with cameras, drones, and stabilizers.

• Problem-solving under pressure and creative thinking.

• Experience with emerging technologies like AR/VR.

Alternative Careers:

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

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

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

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

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

2. Sound Recordists and Mixers

Transferable Skills:

• Expertise in sound engineering and audio mixing.

• Knowledge of sound design for different environments.

• Ability to work with sound recording hardware/software.

Alternative Careers:

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

• Audiobook Engineer: Recording and editing audiobook narrations.

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

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

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

3. Lighting Technicians and Gaffers

Transferable Skills:

• Knowledge of lighting design and electrical systems.

• Problem-solving and quick thinking on set.

• Creativity in creating moods and aesthetics with light.

Alternative Careers:

• Theatrical Lighting Designer: Designing lighting for stage productions.

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

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

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

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

4. Editors (Video and Audio)

Transferable Skills:

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

• Storytelling through visual and audio cuts.

• Collaboration with creative teams and tight deadline management.

Alternative Careers:

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

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

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

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

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

5. Sound Mixers

Transferable Skills:

• Expertise in post-production sound mixing.

• Problem-solving to match audio to visuals.

• Attention to detail and technical precision.

Alternative Careers:

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

• Sound Branding Specialist: Designing audio identities for brands.

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

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

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

6. Multiskilled Crew Members

Transferable Skills:

• Teamwork and adaptability in high-pressure environments.

• Technical troubleshooting and operation of complex equipment.

• Ability to work in unpredictable conditions with tight deadlines.

Alternative Careers:

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

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

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

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

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

Emerging Opportunities

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

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

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

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

Other Resources

TVSU Transferrable Television Skills Tips and Contacts 20Sept Download

Written by Jonathan Glazier

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