Category: Opinion

Jonathan Glazier’s Opinions expressed here are his own and not those of clients or associates; however, they do represent Jonathan Glazier Media Limited.

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How Freelancers Can Thrive in the New Creator Economy (2025 Guide)

Jonathan Glazier thought on the New Creator Economy and how it could benefit Freelancers

The freelance creative economy 2025 is at a major turning point.

Traditional media jobs are shrinking, but the New Creator Economy 2025 is exploding — offering freelancers new ways to work, create, and get paid.

If you’re a director, producer, editor, writer, or creative professional wondering how to survive the next five years, this guide will show you how the New Independent Creator Economy (N.I.C.E.) is reshaping opportunities — and how you can thrive without waiting for permission.

Let’s dive into how freelancers can move from surviving to building in 2025 and beyond. JG

How Do We Solve the Current Dearth of Jobs in the Creative Sector?

Very appropriate that this late newsletter lands off the back of a TV Mindset Freelance Hub.

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Jonathan addressing the group

It was a real privilege to be asked to open proceedings. And Co Host with Clare from TV Switch UP

But even more so to spend time with the people living through the downturn firsthand.

It was eye-opening. And emotional.

The Freelance Hub was held at the brilliant Film and TV Charity offices in Golden Square London, a full-circle moment for me.

My freelance career actually started in Golden Square.

First freelance gig? Granada TV’s Stars in Their Eyes.

Rehearsals and auditions were just up the street at Granada’s offices.

Back then, the independent channel system was thriving.

Seventeen companies from Tyne Tees to Anglia, all making first-class iconic shows like The Tube and Survival.

Even the Channel Islands had a broadcaster.

Now? One company: ITV.

And even they struggle to fully fund themselves through ad revenue.

No blame — it’s evolution.

But the change is real.

Talking to producers (crew, you’re next, don’t worry),

I spotted a pattern.

In the old TV economy, the audience was the end of the chain.

The broadcaster acted like a publisher, funded by brands.

The product — the programme — was created to solve a complex equation between advertiser, broadcaster, and audience.

Freelancers like us were brought in to make the product.

The selling, the legal, the admin — all handled elsewhere. I am not going to say it was easy to sit back and be handed project or that freelancers think it’s to much work to find the funding for slef originated projects. Freelancers work hard, I think it’s about confidence, and I think freelancers are waiting to get permission.

Which left us all with a mindset: “wait for the phone to ring.”

Going direct to brands or audiences feels intimidating.

So people wait to be asked.

And right now, that’s a killer.

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The Creator Economy 2025 Isn’t Just for Influencers — It’s Your Next Opportunity

The creator economy is no longer a niche.

It’s a $250 billion sector today, projected to double soon.

But most freelancers from TV, media, publishing still think it belongs to YouTubers and lifestyle influencers.

That’s a mistake.

The creator economy is simply a new way to package and sell your skills and knowledge —

direct to an audience, no middleman required.

What’s Changing:

  • Barriers between “content creators” and “professionals” are gone.
  • Audiences pay for knowledge, experience, and entertainment — not just viral dances.
  • New revenue models (subscriptions, memberships, direct sales, micro-courses) mean you can build multiple small income streams — and gain freedom.

How to Think About It:

If you can pitch a show, edit a reel, design a deck, or run a live shoot — you have creator economy skills.

The shift is mindset — not talent.

It’s about thinking like a brand.

Building an audience.

Owning your work — not waiting for permission.

If You’re Thinking About Pivoting:

  • Find your niche — the thing you know, teach, or entertain better than most.
  • Build a simple, consistent online presence. Now, not later.
  • Pick one platform your audience already uses (YouTube, LinkedIn, Substack).
  • Monetize smartly: digital products, consulting, memberships, speaking gigs.

The Bottom Line:

Freelancers who survive the next five years will be the ones who diversify how they earn.

The creator economy isn’t replacing freelance work — it’s becoming part of it.

Time to move.

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Quick Note on CVs — Tell Me a Story

One extra thought from the Freelance Hub.

I’m no CV expert — but I do read a lot of them.

And here’s my honest take: they all look the same now.

The more you use AI or “professional” CV writers, the more identical they get.

We all know the importance of a good thumbnail on YouTube — the hook, the description.

Why not treat your CV the same way?

Don’t give me a list of credits. Yawn….

Don’t start with your education. Everyone does

“I recently studied for and MA in film studies at Brighton University.

I Just achieved and MA in TV production from Salford University.

It all started blowing up my action men in the back garden, I’d film them to create action scene with a Canon 514XL i bought with my paper-round money. I’ve been obsessed with visual storytelling all my life, I am dyslexic, it was the only way i could find my voice.

I love film and just achieved a First in Film and TV production from UCA.

Which one are you going to read?

Tell me a story.

Here are five strong openers to show you what I mean:

  1. “Ever since I directed my first short film with nothing but a borrowed camera and a group of friends, I’ve been obsessed with storytelling that moves people.”
  2. “I’ve always believed that the best solutions start with the right questions—which is why I’m drawn to the investigative nature of science.”
  3. “Growing up dyslexic taught me how to think differently, and that difference has become my greatest strength in solving creative challenges.”
  4. “What began as a fascination with courtroom dramas became a real-world passion after I shadowed a barrister for a week during school.”
  5. “I thrive where ideas, people, and pressure collide—whether directing a live broadcast or leading a team through a creative pitch.”

And when you list credits, don’t do it chronologically.

Put the shows people might actually have watched first.

Hook the reader — then keep them reading. And yes i did film my action men.

Back to N.i.C.E.

Well here’s the headline:

We are at the start of N.I.C.E.

(Not another Dick Wolf procedural cop show, don’t worry.)

The New Independent Creator Economy.

Freelancers with ideas are going straight to brands for funding,

or straight to audiences through social media.

You don’t need to become a full production company.

You just need relationships.

You can message marketing directors yourself.

You can package your own ideas.

The agency gatekeeping?

Being democratised.

If your story is strong — go for it.

Check out collectives like Nest. Talk to the fabulous DEREK DRENNAN

N.i.C.E. is going to double in turnover within two years.

Collaboration is going to drive it.

Don’t wait to be picked.

Pick yourself.

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Asias Got Talent

And For the Crew:

Be available to the people building N.I.C.E.

Yes, there’s a lot of self-shooting happening.

But look at The Sidemen. Look at MrBeast.

They now employ armies of technical crew.

When the new creators grow —

they’ll need you.

Crew, join and play N.I.C.E.ly. (Sorry, had to.)

Honestly?

I’m delighted “Independent” got added to the New Creator Economy.

The metaphorical possibilities are endless.

The future of freelance creativity belongs to those who act like creators — not just contractors.

The New Independent Creator Economy gives freelancers the tools to build direct relationships with brands and audiences, diversify income streams, and take control of their careers.

It’s not just for YouTubers or influencers — it’s for directors, producers, editors, and storytellers who are ready to move.

Success will belong to those who:

  • Tell better stories
  • Build authentic connections
  • And stop waiting for the phone to ring.

The opportunity is real.

The creator economy is growing fast.

And the New Independent Creator Economy is open for those who choose to move first.

If you want more insights on thriving as a creative freelancer, subscribe to my newsletter alt.media

Thanks for reading.

Thanks for thinking differently.

Jonathan

(Still surviving, still creating, still not waiting for permission.)

#CreativeEconomy #FreelanceLife #NewIndependentCreatorEconomy #FutureOfWork #AltMedia #TVMindset #StoryFirst #IndependentCreatives #BuildDontWait

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🎯 Supporting the UK Film and HETV Industry – My marking, ❌ Could do Better

Jonathan Glazier TV Media Consultant alt.media news letter
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The Governments report “Supporting the UK Film and HETV” Industry was published in full this week but first, no apologies for the flex — I didn’t set out on a numbers game, but…

10,000 followers on LinkedIn.

Commissioners. Production companies. Producers. Editors. Freelancers. Creatives. Media teams.

People trying to make smarter content using better workflows, stronger formats, and tools that help, including AI, when it makes sense.

That’s not just a number. It’s a personal win for someone who grew up undiagnosed dyslexic.

English was once a subject that filled me with fear, confusion, and self-doubt. I didn’t know why I couldn’t keep up, I just knew I felt behind.

Now I write publicly about storytelling, media, the freelance crisis in an industry I love, and smarter creative workflows. And 10,000 people choose to follow those words.

If you’re one of them, thank you. That means more than you know.

📚 Main Editorial: Supporting the UK Film and HETV Industry

The House of Commons Culture, Media and Sport (CMS) Committee released its report on British Film and High-End Television. Having read the entire thing, here are my thoughts, followed by a summary of the report.

🎁 I’ve also created a PDF you can download here. I

Section A: A summary of the key points.

Section B: All the conclusions and recommendations, minus the fluff.

It’s the Blinkist version — read it, and look clever next time you’re in Soho House, BAFTA, or an RTS meeting.

If you want the full report its here.

💬 My View

The report does what it says on the tin — Supporting the UK Film and HETV Industry. But here’s the catch:

The issue with HETV is the “HE”, High-End. That immediately excludes the majority of UK domestic broadcasters, PSB or not. They simply don’t have the budgets to commission proper HETV anymore

That’s the root of the crisis in British drama: British stories told for British audiences. Wolf Hall and Mr Bates vs The Post Office were nearly left on paper due to costs. Adolescence found Netflix funding not because it was British, but because its theme — online radicalisation of boys, was universal.

Every new advantage handed to HETV risks becoming another nail in the coffin of locally made, mid-budget British drama.

And let’s be clear: there’s no mention of format TV, reality or unscripted. Yet that’s where most of the freelance work is. And the freelance jobs market has collapsed — you’d never know it reading this report.

There’s also nothing on retraining, not even for those trying to pivot into HETV. Ironically, it’s management that needs retraining.

A sound recordist on Doctors has the same skill set needed for The Crown. What they lack is the opportunity.

🎓 Education and the Talent Pipeline

We all know it: to make HETV, or any TV or film, requires a wide set of skills — enough to employ an entire cohort of sixth-formers, according to the report.

That line says a lot. Why doesn’t the wider labour market recognise that people from the TV and media sector are highly skilled, calm under pressure, and brilliant communicators?

If someone from our sector needs to pivot, support them. You won’t find a better-trained worker.

Thank god the report said “sixth-form cohort” and not “graduates.” Our industry should support talent and passion, not just academic credentials. We need apprenticeships, on-the-job training, and probation periods.

Let’s be honest, the working class has been excluded from TV for the last 20 years. When I started at ATV, I found my home. Oxford and Cambridge grads worked shoulder-to-shoulder with people schooled in life.

Johnny Speight, East End working class and one of the greatest writers of the 20th century. Look up William G Stewart’s Wikipedia page — a legendary “shit-kicker” turned producer. I learned from people like that.

It was a place of equality. Yes, we had work to do (and still do) on women’s rights and minority representation. But for the time, the LGBTQ+ community were simply fellow workers — no labels, just part of the team.

So yes, there’s a long way to go on education and inclusion. But we also need to talk about jobs. With unemployment in the industry still sky-high, skills talk without job pipelines is just hot air.

Welcome the levy. Welcome the support. But for freelancers and the future of the UK screen industry: ❌ Could do better.

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DCMS Report Summary: Supporting the UK Film and HETV Industry (2025)

The UK film and HETV sectors face a critical moment. While new tax credits and growth commitments are welcome, systemic challenges around funding, skills, and sustainability remain. The DCMS outlines a clear set of interventions needed to ensure these industries can grow, innovate, and compete globally.

🔧 Key Recommendations

1. Funding & Tax Relief

  • Independent Film Tax Credit welcomed, but not sufficient. Needs companion relief for marketing (Prints & Advertising).
  • Introduce 25% P&A tax relief in Autumn 2025 Budget.
  • Amend R&D definitions to include creative development across film, TV, and wider industries.
  • Review Enterprise Investment Schemes to ensure access for film financing.
  • Increase UK Global Screen Fund in line with BFI bids.
  • Rejoin Creative Europe as associate member for collaboration and co-finance access.

2. Domestic HETV & Broadcaster Support

  • Introduce a targeted uplift in tax relief for UK-centric HETV shows (budgets £1–3M/hr).
  • Commission research on applying PSB-style terms of trade to streamers.
  • Require SVoD platforms to contribute 5% of UK revenue to a cultural fund (BFI-administered).

3. Freelance & Workforce Stability

  • Appoint a Freelancers’ Commissioner with real powers.
  • Introduce protections on pay precarity, hours, and contracts.
  • Mandate spending disclosures on skills training by all productions claiming tax credits.
  • Require studios to report how their budgets support skills and regional growth.

4. Skills & Inclusion

  • Tie ScreenSkills funding to performance-based outcomes.
  • Fund a national industry awareness campaign for young talent and educators.
  • Expand short film schemes via BFI Skills Clusters, especially outside London.
  • Launch a Growth and Skills Levy designed for film/TV – portable apprenticeships, SME support, and CPD funding.

5. AI, IP & Creative Integrity

  • Establish a BFI-led AI observatory and tech hub.
  • Create an AI ethics certification scheme for productions using public funds.
  • Legislate against unauthorised use of likeness, voice, or deepfake cloning.
  • Abandon ‘opt-out’ AI copyright training models – enforce licensing by default.

6. Screen Heritage & Infrastructure

  • Reform business rates to protect studio growth.
  • Fund independent cinemas with core + capital support.
  • Develop a national strategy for screen heritage and a film preservation apprenticeship.
  • Research and introduce a statutory moving image deposit scheme

So if thats whetted your appetite hers are the links again

Summary PDF you can download here.

Section A: A summary of the key points.

Section B: All the conclusions and recommendations, minus the fluff.

If you want the full report its here.

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🎬 WHAT’S NEW IN FORMATS & UNSCRIPTED

📌 Lead Story: E4 Opens The Honesty Box

E4 is launching a new reality dating experiment, The Honesty Box, later this month. The show is produced by BBC Studios-backed Mettlemouse in partnership with GroupM Motion Entertainment. Built around unfiltered honesty, the format aims to push couples to confront emotional truths early, reshaping how reality TV handles dating and commitment. Positioned between Love Island and The Circle in tone, this could mark a shift in Channel 4’s relationship reality slate.

🇬🇧 UK UPDATES

  • Doctor Who returns this weekend, now officially a Disney+ and BBC Studios co-production. Expect bigger global reach, tighter visual FX, and Ncuti Gatwa’s full debut as the Doctor. This relaunch is being treated more like a global franchise reboot than just another series drop.

Where to watch The Handmaid’s Tale season 6 in the UK – Can’t Wait

The new season of The Handmaid’s Tale will arrive in the UK on May 3, and will air on Prime Video and Channel 4.

  • Sky UK is adapting Saturday Night Live, with a 2026 premiere planned. Executive produced by SNL creator Lorne Michaels, the British version will aim to preserve the live format and feature top UK comic talent.
  • Channel 4 commissions The Hunt , a high-stakes, tech-driven survival competition where contestants chase each other through forests for a £100,000 prize. Think The Hunted meets The Hunger Games. Launching in 2025.
  • ITV acquires The Assembly, a format where celebrities are interviewed by a panel of neurodivergent contributors. Originally piloted by the BBC, ITV has ordered a short run with full production support from neurodivergent-led orgs.

🌍 World Wide FORMAT MOVES

  • USA (Netflix): Monopoly becomes a reality competition format. Format specifics a secret
  • Spain: The international roll out of Traitors continues in Spain to premiere on Antena 3
  • Norway: TV 2 orders The Fortune Hotel – Celebrity Edition only a matter of weeks before it comes to the UK
  • Brazil / YouTube: MasterChef Creators, produced by Endemol Shine Brasil, will focus on digital creators. In an interesting crodd over from the digital world

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🤖 AI in the Media

🎬 James Cameron Advocates for AI to Reduce Blockbuster Costs

Renowned filmmaker James Cameron is championing the use of generative AI to cut the soaring costs of blockbuster productions. Speaking on Meta CTO Andrew Bosworth’s podcast, Cameron highlighted AI’s potential to streamline visual effects workflows without displacing human workers. He emphasized that AI can enhance production efficiency and creativity, rather than eliminate jobs. Cameron, who joined the board of Stability AI in 2024, also addressed concerns over intellectual property used to train AI models, suggesting that artists, like AI, are shaped by their experiences and influences.

🧠 ‘Black Mirror’ Season 7 Explores AI and Human Consciousness

Netflix has released the seventh season of its anthology series ‘Black Mirror,’ featuring six episodes that delve into themes of AI, human consciousness, and technological ethics. The season includes a sequel to the fan-favorite episode ‘USS Callister,’ titled ‘Into Infinity,’ and other episodes like ‘Plaything’ and ‘Eulogy’ that explore digital interactivity and the impact of AI on personal loss and identity.

💼 Freelance Forever

The latest statistics on the levels of UK production are due to be published byt the BFI at the end of may for now here’s a brief summary

As of April 2025, the UK film and television industry still faces significant challenges, particularly affecting freelance workers. As we know survey conducted by Bectu in July 2024 revealed that over half of the UK’s film and TV workforce remained unemployed:

  • 52% in film
  • 51% in TV drama
  • 57% in unscripted television
  • 53% in commercials

These figures indicate a slow recovery from the 68% unemployment rate reported in February 2024 .

The prolonged downturn has led to financial strain, with 81% of respondents reporting increased financial difficulties and 21% resorting to loans or unsecured debt. Mental health concerns are also prevalent, with 70% struggling with their mental wellbeing .

The crisis has disproportionately impacted underrepresented groups:

  • 61% of Black/Black British workers
  • 67% of Asian/Asian British workers
  • 56% of workers from other minoritised ethnic groups

These groups are more likely to be unemployed compared to 51% of white workers .

In response to these challenges, the UK Parliament’s Culture, Media and Sport Committee has called for urgent action, including new tax breaks and a proposed 5% levy on UK subscriber revenue from streaming services to support the industry .

Despite these efforts, the industry remains in a precarious state, with many freelancers facing prolonged unemployment and financial hardship.

Lets all keep talking and make use of TV Mindset and TV Switch Up on Facebook and the Film and TV charity

Thanks for reading — and for doing the work.

Keep making things that matter.

Jonathan

Media Consultant & Format Creator

Trusted by 10,000+ media professionals, freelancers, and creatives.

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🎭 UK Government Policy on Creative Industries:

Jonathan Glazier's takedown of the government's plans for growth in the creative sector

I thought it would be useful to take a closer look at what the UK government is planning for the creative industries, based on the House of Lords Library’s recent report: “Creative Industries: Growth, Jobs and Productivity”, published on January 30, 2025.

It’s only by understanding what the government sees as the sector’s strengths and challenges — and what solutions they propose — that we can properly question, suggest, and critique their approach. That’s my view. Criticism should always come with a constructive offer.

This is really the heart of the report as written

To enable growth in the sector, the government will leverage UK creative industries’ global comparative advantages by unlocking private investment, boosting exports, and developing its highly skilled workforce. The government needs to ensure that the UK sector remains globally competitive as a home for world class talent while maximising access to important markets to tour and collaborate. The sector plays an important role in driving growth across regions and nations, through creative clusters and corridors across the country that spread opportunity and prosperity in communities, as well as driving growth by enhancing access to skills, spillovers and knowledge sharing.[33]

The industrial strategy and the sector plans, including the sector plan for the creative industries, are due to be published alongside the spending review in spring 2025.[34] The government has commissioned various bodies to work on delivering the industrial strategy and the sector plan:

Industrial Strategy Advisory Council: The council will make and publish recommendations on the development and implementation of the industrial strategy.[35] Its initial focus will be to support development of the industrial strategy, including developing proposals to break down barriers to growth. The government appointed members to the council in December 2024. The government plans to put the council on a statutory basis.[36]

Creative Industries Taskforce: Sir Peter Bazalgette, the industry chair of the Creative Industries Council, and Baroness Vadera, who is due to replace him in that role later this year, have been appointed to lead a taskforce to work on the sector plan.[37] The taskforce will focus on areas such as crowding in investment, access to opportunity, people and skills, and supporting innovation.[38]

Government chief scientific adviser and the national technology adviser: These senior advisers have been tasked to lead a review on “barriers to the adoption of transformative technologies that could enhance innovation and productivity, with a focus on the growth-driving sectors identified by the industrial strategy green paper”.[39] The review’s recommendations are intended to inform the development of the industrial strategy and sector plans.

For me, this is hot air.

Next is a summary (generated with AI and checked against the full report), followed by my own perspective on what’s missing — and what we need next.

🔍 Summary of the Government’s Position

The House of Lords report offers a sweeping overview of the creative sector’s value to the UK:

  • Economic Powerhouse: In 2023, creative industries added £124 billion in GVA — 5.2% of the UK total. The IT, software, and computer services sector led the way with £49.1 billion.
  • Employment Driver: The sector employed around 2.4 million people — 7% of all UK jobs. Notably, 28% were self-employed — double the national average.
  • London-Centric: The capital accounted for 29% of all creative jobs.

The government has named the creative sector as one of eight “growth-driving” industries in its new industrial strategy, with plans for:

  • Sector-specific investment and skills support
  • Export boosting
  • Harnessing “creative clusters” across the UK to share opportunity and prosperity

As the report states:

“To enable growth in the sector, the government will leverage UK creative industries’ global comparative advantages by unlocking private investment, boosting exports, and developing its highly skilled workforce… The sector plays an important role in driving growth across regions and nations, through creative clusters and corridors across the country that spread opportunity and prosperity in communities, as well as driving growth by enhancing access to skills, spillovers and knowledge sharing.”

The sector plan is due alongside the Spring 2025 Spending Review.

© And What of A.I.

Alex Mahon, the Chief Executive of Channel 4, has expressed significant concerns regarding artificial intelligence (AI) companies’ use of copyrighted content from the UK’s creative industries. She highlighted that AI firms are “scraping the value” from the UK’s £125 billion creative sector without proper authorization or compensation, which she believes poses a “dangerous position” for the industry.

Mahon emphasized that UK copyright law is explicit, yet large language models (LLMs) are utilizing creative content without consent or remuneration. She outlined a clear stance:

  • Opt-in only: Use of content must be explicitly authorized by the rights holders.
  • Transparency: LLMs must disclose the data they have utilized.
  • Fair payment: Creators should receive appropriate compensation for their work.

She advocates for a licensing regime that safeguards intellectual property, ensures transparency, and places the responsibility on tech firms rather than creators.

These remarks were made during her testimony to the Culture, Media and Sport Select Committee, where she urged the government to take action to protect the creative industries from unlicensed AI data usage

👥 Who’s Involved?

The government has set up the following bodies and roles:

  • Industrial Strategy Advisory Council: Advises on breaking down growth barriers.
  • Creative Industries Taskforce: Led by Sir Peter Bazalgette (soon to be succeeded by Baroness Vadera), focusing on investment, opportunity, and innovation.
  • Scientific & Technology Advisers: Reviewing barriers to adoption of transformative tech across growth sectors.

💷 What About the Money?

Some funding has been announced, notably:

  • £15bn in creative tax reliefs over five years
  • An Independent Film Tax Credit (up to 53%) for films under £15m
  • New VFX relief launching in April 2025
  • Theatre, orchestra, and museum reliefs locked in at 40–45%
  • £3m for the Creative Careers Programme to promote the industry in schools
  • £25m for Sunderland’s Crown Works Studio via NEMCA, aiming to create 8,000 jobs

🧾 My Take: This Doesn’t Touch the Sides

Yes, it’s always good to see any funding come into the sector — and yes, tax reliefs are critical.

But let’s be honest: this is lightweight support for an industry delivering £124 billion in value.

This isn’t an industry in need of occasional attention — it’s a major employer, exporter, and cultural force. And yet:

  • The slowdown in commissioning is unacknowledged.
  • The collapse in advertising revenue? Ignored.
  • The “less for more” production economy? Not mentioned.
  • The loss of skilled talent from the industry? Crickets.

This report reads like it was written from the safety of a desk, not from inside a production office, edit suite, or freelance spreadsheet.

🎭 Freelancers Still Left Behind

With 28% of the workforce self-employed, freelancers are the backbone of the creative sector. Yet they remain largely invisible in government policy. No mention of late payments, no safety net during dry spells, no fix to the broken IR35 mess, and no one addressing the erosion of benefits like holiday pay and job security.

We need more than support — we need representation.

🚨 It’s Time for a Minister for the Creative Arts

Let me be clear: I respect Lisa Nandy and her junior ministers for covering both Sport and Culture. But these are two completely different remits — each with deep, complex issues. One covers community participation, fitness, and national pride. The other spans film, theatre, television, digital media, and the livelihoods of millions.

We need a dedicated Minister for the Creative Arts, backed by a cabinet seat, a specialist team, and direct engagement with the realities on the ground.

Because right now? This doesn’t feel like policy with the industry.

It feels like policy at the industry.

Let’s start a serious conversation.

Not just about funding, but about respect, protection, and strategic vision.

Because the UK creative sector isn’t a pet project — it’s a global powerhouse in need of smart, real-world support.

#creativeindustries #freelancers #publicpolicy #tvindustry #film #artsfunding #culturematters #ministerforcreatives #ukpolitics

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🎥 Give Up Everything and Get Youtubing

starting a youtube channel

Should we all be starting youtube channels?

April 4, 2025

Or: Is YouTube the Answer to the Crisis in Everything Media?

So YouTube seems like a great option.

I’m asked often:

“Should we start a YouTube channel?”

I never have a perfect answer. But I can offer some facts.

Yes, YouTube is now the de facto home of entertainment in the USA. It recently overtook Netflix and Disney+ in TV screen share, with 11.6% of total US TV usage. And here’s the kicker, much of that growth is coming from viewers over 50. You read that right. The very audience broadcasters are terrified of losing are spending their evenings with Sidemen and shark tank breakdowns. so should we Give Up Everything and Get Youtubing?

So yes, the viewers are there. And yes, the advertisers are following.

Here’s the “but,” and it’s a big one.

The real allure of YouTube for creators is this, no gatekeepers. No commissioners to turn your idea down with a half-smile. No notes from someone who’s never been on set. You can just make the thing and hit upload. For anyone who’s ever had their dream format die in development hell, that sounds like paradise.

But let’s get real.

On YouTube, you are the one footing the bill. There’s no commissioning budget. No overheads absorbed by a big prodco. You pay to make the content, and that’s a big punt if you’re trying to sustain a crew, even a tiny one.

What about production values? If you’re shooting interviews or documentary shorts, yes, a phone, a lav mic, and some slick editing will do the job. A powerful story can carry it. Just think about lonelygirl15, one of the first successful web series. It was scripted, mysterious, and created a huge following, all shot on a webcam. That worked because the story was gripping and the aesthetic matched the mystery. But if you are building game shows, studio formats, or anything that relies on visual scale or big hooks, it’s a much harder sell. I’ve done the maths. I can mock up a version of my latest game show idea using UGC, no set, and a voiceover, but it’s not going to rival prime-time. Not yet.

And here’s the irony. The YouTube experts love to shout “forget everything you know about TV.” But look at the successful ones. The Sidemen. MrBeast. They are now building back toward traditional TV values. Sets. Crews. Long-form storytelling. Scheduling. Sponsors. Everything they once walked away from, they are now embracing.

Now for the brutal truth. Sustainable income on YouTube is rare.

Only about 0.25% to 0.33% of channels generate enough to support a full-time creator. That’s roughly 25,000 to 40,000 globally. You’ll need big numbers, a clear niche, diversified revenue, and relentless output. You also have to be your own EP, marketing team, and distributor. And, by the way, learn how to read data like a YouTube algorithm whisperer.

Still want to start a YouTube channel?

Good. You should.

Just go in with your eyes open. Bring your creativity, and a thick skin.

And maybe, like me, buy a lottery ticket just in case.

📈 Quick Hits

🔥 YouTube Now Dominates US TV Screens

New Nielsen figures show YouTube at 11.6% of US TV screen time, ahead of Netflix (7.7%) and Disney+ (1.8%). Broadcasters? Slipping further behind.

Source: Nielsen, March 2025

🎈 From YouTube to Netflix: ‘Pop the Balloon’ Goes Big

What started as a dating format on YouTube is premiering LIVE on Netflix this month. Pop the Balloon proves UGC-led shows can grow into global formats. Think about that next time someone calls your sizzle “too niche.”

Watch the trailer

📺 Long-Form is Thriving on YouTube

MrBeast’s last three videos were all over 25 minutes. The Sidemen revived Supermarket Sweep with full studio treatment. Long-form is not only alive on YouTube, it’s winning.

💰 Creator Economy ≠ Easy Money

Most YouTubers earn under $1,000 a year. Only a tiny group crack six figures. The business model works, but only when you understand how to build revenue beyond ads.

📬 Final Thought

Starting a YouTube channel is not a shortcut. It’s not a lifeboat. It’s not even a plan B.

But if you can create, iterate, and hustle hard, it might just be the most powerful platform you’ve ever worked on.

Let me know if you’re thinking of making the leap. If you’ve already started, send me your link. I’ll be featuring some reader channels in next week’s newsletter.

—Jonathan

Founder, alt.media. Smarter storytelling, better production, across every platform.

👉 @jgtvdirector | jonathanglazier.media | Subscribe on LinkedIn & Substack

#altmedia #YouTube #CreatorEconomy #TVProduction #MediaStrategy #MrBeast #TheSidemen #ContentCreation #Broadcast #lonelygirl15 #freelancers #formatdevelopment #mediaindustry #digitalfirst #productionlife

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The Streaming Lords: A Journey into Media’s New Power Structure.

The Streaming Lords: A Journey into Media’s New Power Structure.

Introduction: 24 January 2025

The title is inspired by my current podcast of choice “The Coming Storm” on BBC Sounds. The Streaming Lords: A Journey into Media’s New Power Structure. is inspired by the ideas of the Network State, a reality, and how it is mirrored in our own sector, so read on!

In another place, I am quite a political animal, but here my focus is our industry—media—and the sub-focus is content. I say that because I don’t want this to put you off reading further, but I am moved to write after the first week of President Trump 2.0. His election and actions have occupied my thoughts with the idea of disruption. As many freelancers in the creative sector are feeling acutely, the disruption in our sector has many real-life consequences, financial and mental health being the two most serious effects.

The awful fires in California are, of course, a disruption, and my heart goes out to everyone, particularly friends and colleagues who have lost their homes. The fires will also disrupt our industry, just like the strikes and COVID. But the disruption I am thinking about has a parallel with Apple Music or Uber and is, of course, rooted in the surge of streaming platforms. Now, I am not a conspiracy theorist, but please hear me out.

The Streaming Lords: A Journey into Media’s New Power Structure

In this week’s edition of altmedia, we’re embarking on a journey into the realm of The Streaming Lords: A Journey into Media’s New Power Structure. From the dominance of streaming platforms to AI’s seismic impact on content creation, we’ll uncover how technology, innovation, and shifting consumer habits are redrawing the boundaries of the media landscape. This isn’t just a story of disruption—it’s about the power struggle, the opportunities, and the new empires emerging from the chaos. Discover how creators, companies, and audiences are navigating this transformation and deciding whether to adapt, thrive, or be left behind in the kingdom of The Streaming Lords.

But behind this transformation lies a hidden toll—the human cost.

Freelancers, the lifeblood of creative industries, are grappling with dwindling opportunities, job instability, and an uncertain future. This story isn’t just about disruption and power—it’s about survival in a rapidly changing world. Join us as we explore how creators, companies, and audiences are navigating this upheaval and what it means for the people who keep the media machine running.

The Coming Storm

The Coming Storm

“The Coming Storm” is a BBC Radio 4 podcast series hosted by journalist Gabriel Gatehouse. The series delves into the origins and impact of conspiracy theories in the United States, particularly focusing on the events leading up to the January 6th Capitol insurrection. Season 2 looks at the idea of The Network State, a concept where online communities evolve into decentralized, digitally coordinated societies with shared values, often leveraging blockchain technology for governance and economy. Early examples include Ethereum, which functions as more than a cryptocurrency, enabling decentralized applications and governance, and Bitnation, offering blockchain-based citizenship and governance services. These entities challenge traditional state models by creating borderless, purpose-driven communities that operate beyond geographic constraints.

Deeper Network States

Deeper Network States are communities that transcend digital coordination to establish physical, geographic presence aligned with their shared values and goals. Examples include:

1. Seasteading Institute: This movement aims to create floating city-states in international waters, offering governance independent of traditional nations.

2. Liberland: A micronation established on unclaimed land between Croatia and Serbia, promoting libertarian values and cryptocurrency-based governance.

3. Prospera (Honduras): A semi-autonomous charter city on Roatán Island, built to attract global entrepreneurs with streamlined governance and economic freedom.

Disruptors: The Sub Text

There’s a compelling subtext here: the rise of new political movements as disruptors, championing deregulation, breaking free from state control, and taking charge of personal finances. While these are often seen as alt-right agendas, let’s be clear—they are equally the agendas of big business.

Take Apple, for instance. While operating within the system, they spearheaded the disruption of the music industry, shifting power away from labels and artists. They built a curated ecosystem—a feudal-like structure—where developers were granted “fiefdoms” under Apple’s rule, with the company imposing its own “tax” on all sales and maintaining tight control over content. Their exclusive devices worked seamlessly together but locked out third-party hardware unless it was granted a fiefdom of its own or acquired outright by Apple’s overlords.

And Apple is far from alone. Enter Netflix, another disruptor that reshaped the entertainment industry. Both companies exemplify how modern corporations wield disruption not just to innovate but to consolidate power, control ecosystems, and dominate their domains.

Netflix as a Nation Streamer

Netflix is a prime example of a disruptor and fits neatly into the framework of Techno-Feudalism, earning the title of a “Nation Streamer” for several reasons:

Disruption in the Media Landscape

1. Breaking Traditional Models: Netflix upended the linear broadcasting model by pioneering the subscription-based streaming model. It bypassed traditional TV networks and cable providers, giving direct access to consumers.

2. Original Content Dominance: By investing heavily in original programming, Netflix reduced reliance on legacy studios, creating a self-sufficient content ecosystem that rivals Hollywood’s traditional studio system.

3. Global Reach: With tailored content for international markets like Squid Game and Money Heist, Netflix disrupted the dominance of Western-centric media and became a cultural force across the globe.

Techno-Feudalism and Nation Streamer

Netflix embodies the characteristics of Techno-Feudalism through:

1. Centralized Control: Like a feudal overlord, Netflix operates a closed ecosystem where it controls not only distribution but also the production pipeline, determining what gets made and how it’s consumed.

2. Subscription Ties: Subscribers are tethered to Netflix’s “fiefdom,” paying a recurring fee for access to its curated content library, effectively making consumers “tenants” in its digital domain.

3. Data as Power: Netflix wields immense power through its collection and analysis of user data. This data shapes its production choices, marketing, and personalized recommendations, reinforcing its dominance.

4. Global Cultural Influence: Much like a nation, Netflix exports its values, culture, and soft power through content, shaping global narratives and creating a shared cultural lexicon.

The Age of the Techno Nation

Anyone drawn to the dystopian narratives of 1984, The Maze Runner, The Hunger Games, or The Handmaid’s Tale (did you see the picture below?) must feel a chill of recognition. Picture the inauguration, with the leaders of Meta, Amazon, and Musk Inc. sitting in the front row—a scene that could easily belong in a film where the proletariat struggle for survival and entertainment under the watchful gaze of the overlords.

‘The Handmaid’s Tale’ fans compared Donald Trump’s daughter Ivanka Trump’s to Serena Joy

The freelance community, of which I am part, is already fighting—fighting for our careers, our livelihoods, and our dignity. We’re caught in a bind: taxed and regulated by the states in which we live, yet excluded from the freedoms of the emerging Network Nations. These new techno-feudal systems reward allegiance to their ecosystems while driving down rates, forcing small creators to cut staff or turn to AI to survive.

Does this sound far-fetched? Consider this: streamers are not regulated in the UK like traditional broadcasters. They operate beyond the barriers of international borders, extracting subscriptions while paying minimal taxes in any country. For creators, joining the club often means surrendering the intellectual property of their projects entirely.

Now, do you still think they don’t deserve the title Nation Streamer?

Nations and Regions: A Word

Some of you may have followed my comments or the excellent work of Peter Strachan, who has been drawing attention to the frankly outrageous “gamification” of the commissioning process at the BBC and Channel 4. Both organizations are bound by charter to commission a percentage of shows from the Nations and Regions—Scotland, Wales, and Northern Ireland. These areas contribute through license fees, and it naturally follows that their viewers and workers should benefit from commissions that proportionally reflect their contribution.

Take The Traitors as an example. While the show is shot in Scotland and qualifies as a regional commission, of the 18 runners working on the production, only 2 live in Scotland. This raises serious questions about how “regional commissioning” is being defined and executed.

You can read Peter’s insightful thoughts on this matter on LinkedIn.

Thanks for reading this week’s edition of altmedia. As always, feel free to share your thoughts and join the conversation. Until next time, stay creative and stay informed.

Jonathan Glazier FRSA

Editor alt.Media

Graphics created using AI tools and CC-licensed images

#StreamingLords #MediaDisruption #FreelanceChallenges #TechnoFeudalism #NationStreamer #ContentCreation #altmedia #MediaPower

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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

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            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.”

            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:

            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

            Posted on

            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

            Posted on

            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

            Posted on

            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.