Alt.Review: The Day of the Jackal (Sky Atlantic)

alt.media Review The Day of the Jackal

Alt.Review: The Day of the Jackal (Sky Atlantic)

by Jonathan Glazier, Media Consultant.

Sky Atlantic’s The Day of the Jackal reimagines Frederick Forsyth’s classic 1971 thriller for a modern audience. Eddie Redmayne takes on the iconic role of the Jackal, a calculating and elusive assassin, while Lashana Lynch’s MI6 agent Bianca matches him step for step in a tense game of cat and mouse.

This version isn’t just a straightforward adaptation—it dares to explore the Jackal’s family life, adding emotional complexity to the fast-paced intrigue. It’s a bold choice that might divide audiences, but it brings something new to a story many of us thought we already knew.

so, is the Day of the Jackal good or bad? Read on

The Family Plotlines: Bold or Distracting?

One of the biggest changes from the original story is the way the show delves into the Jackal’s personal relationships. These moments reveal a more human side to a character we’re used to seeing as an enigma. His strained family connections, quiet struggles, and flashes of vulnerability are unexpected but compelling.

This approach adds a fresh layer to the story—it makes the stakes feel more personal. However, it’s a choice that not everyone will agree with. Some may feel that shining a light on the Jackal’s private life takes away from his mystique. Whether it works or not depends on what you want from the character: the cold, unreachable professional, or a man grappling with the personal cost of his actions.

Alt.Review: A Layered Experience

Here’s what I found most engaging about the series:

  1. The Jackal’s Planning and Precision

The Jackal’s meticulous strategies are a highlight. Every step he takes is calculated, and every pivot feels deliberate. It’s fascinating to watch his mind at work, whether he’s outsmarting authorities or improvising under pressure. It’s the kind of storytelling that rewards paying attention to detail.

  1. A Truly International Thriller

The series doesn’t just confine itself to one or two locations—it takes viewers across Europe and beyond. From the streets of London to safehouses in Paris, from the sun-drenched coasts of Spain to the shadowy corners of Estonia and Germany, every setting feels distinct and vital to the story. These locations aren’t just backdrops; they’re integral to the atmosphere and action.

  1. The Emotional Conflict

The Jackal’s family life adds emotional weight to the story. It’s not just about whether he’ll succeed in his mission—it’s about what he’s sacrificing along the way. These moments are thought-provoking and uncomfortable, adding a raw edge to the narrative.

  1. A Brilliant Counterbalance in Bianca

Lashana Lynch’s Bianca is a standout. She’s sharp, determined, and brings a humanity to the story that contrasts with the Jackal’s cold professionalism. Her pursuit of him is as compelling as the assassin’s own schemes, creating a dynamic where you’re invested in both sides of the chase.

My Writer’s Thoughts

The pacing of the series feels uneven at times, particularly when switching between plotlines or locations. But instead of being frustrating, I found it added to the sense of unpredictability. The narrative mirrors the Jackal himself—never letting you settle, always keeping you on edge.

The family plotlines, while divisive, are one of the boldest parts of the series. They ask us to look at the Jackal in a new way, as someone with vulnerabilities and connections. It’s a gamble, but one that adds depth to the story.

Final Thoughts

The Day of the Jackal is more than a retelling—it’s a reinvention. Stylish, smart, and layered, it challenges our expectations while delivering the high-stakes tension of a classic thriller. Whether you’re drawn to the intricate plotting, the emotional depth, or the stunning international settings, this series has a lot to offer.

If you’re a fan of character-driven thrillers, I think you’ll enjoy this fresh take. And if you see it differently, I’d love to hear your perspective. That’s the joy of stories like these—they spark discussion and make us think.

Written by Jonathan Glazier

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

The Rise of FAST Channels – A Global Surge

Jonathan Glazier Format production and Media Consultant

“Welcome to AltMedia — an alternative lens on the ever-evolving content space and economy, seen through my neurodivergent eyes and translated into dyslexia-fueled English. It’s not about what you expect; it’s about seeing beyond.”

Headline Feature: The Rise of FAST Channels – A Global Surge
As we approach the end of 2024, the television industry continues to witness an explosive rise in Free Ad-Supported Streaming TV (FAST) channels worldwide. In Australia, the growth has been phenomenal with over 100 FAST channels now available across major networks like 7Plus, 9Now, and 10Play. Genres like cooking, crime, and sports have found niche audiences that appreciate “lean-back” viewing experiences without the pressure of endless choices or subscription costs. This trend reflects what we are seeing in the US and parts of Europe, as viewers tire of high subscription fees and yearn for uninterrupted, familiar content .

In Southeast Asia, the expansion of FAST channels continues to attract tech-savvy audiences seeking localized and genre-specific content. Southeast Asia’s increasing digital connectivity and young, mobile-centric demographic have made the region a fertile ground for FAST growth. Channels focusing on travel, sports, and cultural content have thrived here .

MIPCOM 2024: New Formats Stealing the Show
At this year’s MIPCOM in Cannes, several new formats grabbed attention. Leading the charge were Banijay’s Three Are The Champions, a competitive format from Germany, and By Land, Air and Sea, a Dutch reboot that combines adrenaline-fueled challenges with travel adventures. In the US, Bunim/Murray’s The Never Ever Mets introduced an engaging dating reality show that transitions from the online world to real life. Nippon TV’s new formats stood out too, with Man or Mannequin?, a quirky team-based game show where contestants must distinguish between cleverly disguised humans and mannequins, generating significant buzz for its visual appeal .

This year’s lineup reflects a clear trend towards hybrid reality, adventure, and dating formats that combine high stakes, visual engagement, and relatable social dynamics. The appeal of these new shows suggests a demand for formats that offer both strategic gameplay and emotional stories.

Freelance Opportunities: Challenges and the Path Ahead
As we enter the final quarter of 2024, the landscape for freelance personnel in the TV industry remains complex. The chronic shortage of experienced mid-level professionals—especially series producers and production managers—continues to impact the unscripted sector. This shortage, exacerbated by the pandemic, has led to higher burnout rates and over-promotion risks. Yet, there are signs of recovery and a cautious optimism as production levels stabilize, especially in regions like the UK and the US .

As we look to 2025, the industry’s focus must be on retaining experienced talent, investing in upskilling, and ensuring better working conditions for freelancers. The emphasis on digital content creation, short-term project cycles, and diversification in platform distribution is likely to provide new freelance opportunities, albeit in a challenging environment.

Goldfinch Expands into Asia with New Singapore Office
Celebrating its 10th anniversary, UK-based entertainment financier Goldfinch is extending its reach to Asia with a new Singapore office, set to open by the end of 2024. Known for its work on the documentary Quant, the company aims to leverage this expansion to offer credit-based financing for film and television projects in the region. Helmed by co-founders Kirsty Bell and Phil McKenzie, and supported by industry veteran Justin Deimen, Goldfinch has already secured $250 million in closed deals globally and seeks to capitalize on Asia’s dynamic entertainment market

Final Thoughts
With the continued rise of FAST channels, innovative formats making waves at MIPCOM, and the ongoing struggles and opportunities for freelance talent, the television landscape is more dynamic than ever. As content creators and industry professionals, staying informed about these shifts is crucial to navigating this evolving world of television. Let’s stay ahead of the curve and continue finding innovative ways to create, distribute, and thrive in this industry.

Until next time, stay connected and keep creating.

JG

AltMedia #ContentTrends #TVIndustry #NeurodivergentPerspective #FASTChannels #MIPCOM2024 #FreelanceCreatives #DigitalMedia #FormatInnovation #JonathanGlazier #DyslexiaInMedia #AlternativeInsights #ContentCreation #EntertainmentNews #TVProduction #jgtvdirector

Weekly TV Industry Roundup: Survival, Innovation, and Global Perspectives

Weekly TV Industry Roundup: Survival, Innovation, and Global Perspectives

📺 Weekly TV Industry Roundup: Survival, Innovation, and Global Perspectives Headline: UK TV’s Fight for Survival: What Lies Ahead in 2025

The UK production industry is navigating one of its most turbulent phases in recent memory. Between tightening budgets, commissioning freezes, and a freelance workforce on edge, the big question is: How do we survive to 2025?

Broadcasters and production companies alike are scaling back, with many predicting the real pinch to be felt in the first half of next year. From conversations on set to boardroom discussions, it’s clear that the landscape is shifting—and not necessarily for the better. While some companies are consolidating and cutting costs, others are looking overseas for co-productions and alternative funding.

But it’s not all doom and gloom. The appetite for high-quality, original reality formats remains strong. Those able to pivot, innovate, and tap into global markets—particularly in the U.S. and Southeast Asia—may find the lifelines they need. Expect to see more hybrid formats that blur the lines between scripted and unscripted, alongside a rise in formats that reflect societal changes.

Key takeaway: 2024 will be about surviving the storm. To thrive in 2025, companies need to think global, diversify revenue streams, and maintain a close watch on emerging trends.

📈 Trending Now: Global News in TV Production

1. The Reality Boom in Southeast Asia Southeast Asia’s unscripted TV market continues to boom, driven by both local broadcasters and streaming platforms. Indonesia, Thailand, and the Philippines are ramping up their production output, with formats ranging from high-stakes game shows to intimate reality docuseries. Singapore is emerging as a regional hub for format development, and collaborations with UK and U.S. production houses are on the rise. For UK producers, there’s an opportunity here to co-produce and tap into this vibrant market.

2. FAST Channels Are Shaping the Future of Content Delivery Free Ad-Supported Streaming TV (FAST) channels are gaining traction across Europe and the U.S. As more households cut the cord, the demand for 24/7, niche, and genre-based channels is growing. Reality TV, with its endless rerun potential, is a perfect fit for this model. If you’re not already thinking about how your content can be repurposed for these platforms, now is the time.

3. U.S. Writers’ Strike Ends: What This Means for Unscripted The end of the Writers Guild strike has seen a return to scripted programming, but the halt in production over the past few months has left an undeniable gap. Reality TV producers in the U.S. have seized this moment, with a surge in commissions for unscripted content. Could the UK see a similar trend if the strikes ripple across the Atlantic in future?

4. New Reality Formats in Europe: Going Big on Social Experimentation European broadcasters are betting big on social experimentation in reality formats. Shows like The Traitors in the UK and Dragons’ Den spin-offs are fusing competition with psychological elements. The public seems hungry for reality that forces contestants into real-world dilemmas—so if you’re developing formats, lean into the moral gray areas and societal themes.

💡 Spotlight: Trends to Watch •

5. Asian Game Show Formats Head West Asian game show formats are still gaining momentum in the West, following the success of South Korean and Japanese formats like The Masked Singer. U.S. and UK broadcasters are eyeing new imports from Asia, with a particular interest in fast-paced, visually dynamic game shows. Producers in the UK should keep an eye on these formats, especially with the demand for fresher, more energetic game shows.

🛩️ Opportunities for UK Freelancers Despite the challenges, there are still international opportunities for freelancers. Southeast Asia, in particular, is opening doors to experienced TV professionals from the UK. Productions are looking for seasoned directors, editors, and format developers who can bring a fresh perspective to their local shows. If you’re willing to travel, or even consult remotely, now is the time to get your foot in the door.

Interactive Reality TV: With platforms like Netflix experimenting with interactive content, audiences are looking for more ways to engage with their favorite shows. Could this be the next big thing for unscripted formats? • Sustainability on Set: Green production practices are becoming the norm, not just a nice-to-have. As more broadcasters commit to sustainability targets, expect to see tighter regulations and incentives for productions that minimize their carbon footprint.

As we head into the last quarter of 2024, it’s clear that the industry is in flux, but with that comes opportunity. Whether it’s looking to international markets, developing fresh formats, or exploring new distribution models, the future belongs to those willing to adapt and innovate.

Until next week, JG Jonathan Glazier Media Consultant,

Format Creator & Multicamera Director

#jgtvdirector #AltMedia #JonathanGlazier #ContentTrends #TVInnovation #MediaTrends #FASTChannels #MIPCOM2024 #NeurodivergentVoices #DyslexiaInMedia #StreamingRevolution #DigitalContent #FreelanceCreatives #TVProduction #EntertainmentNews #ContentEconomy #CreativeIndustry #AsiaMedia #NewFormats #DigitalTransformation #IndustryInsights #MediaInnovation #CreativeOpportunities

Breaking the Box: A Lefty Dyslexic Director's Insights on TV and Media Ep1

Yes, I am A Lefty Dyslexic Director, and I create, direct and produce tv shows; this is one of the few TV review channels in the UK. if you want to know what to watch, subscribe
Yes, i am one of those awful media lefty types. I am also a divergent thinker, so some of my ideas are a bit left-field.
But all my thoughts and comments are respectful, if anything, they point out the absurdity of modern political thinking. 
My Reviews are my own, and It's just about good and bad not left and right.

Advertising is becoming a tax poor people pay

Advertising is becoming a tax only poor people pay

“Advertising is becoming a tax poor people pay.” Professor of Marketing at the NYU Stern School of Business Scott Galloway – 2016.

I pay for YouTube premium; I do much research on youtube, have my channel @jg_tvdirector, and those adverts are very annoying, so I pay a subscription for premium. It’s the same on a couple of streamer’s ITVX, for one.

That’s going against my socialist principles of anti-private health or schools, but it’s in the same ballpark. I can afford to turn off the adverts, many people cannot. However, the people who can’t have the least disposable income.

Where is that going to leave us? As subscription revenue levels off or declines, the streamers will soon develop two-tier payments, one with and one without ads. So Advertising is becoming a tax poor people pay. But as that demo is the least attractive to brands, we may see the Mandalorian with a can of coke, sporting a Rolex, as product placement becomes the only way to reach high-income households? The adverts that the less well-off will all be for lucrative online gambling, payday loans and Iceland frozen food stores.
While the ability to target consumers becomes ever more sophisticated and crafty, the avoidance of adverts becomes another source of revenue. I’d pay for an Instagram feed free of adverts. I also know people are leaving Facebook because in their feeds they see more adverts than posts from friends and family. So a premium Facebook feed without ads and a free with seems like a good idea?

The way we consume entertainment (and information) is going to change drastically over the next 4 years. Television is already a redundant word. “Tele” as a direct translation from Latin means “far off.” True we may be watching pictures from far away, but TV has come to mean “the linear delivery of visual content”. I think a more arcuate description has to evolve as Broadcast TV becomes outdated. Stream and Live Stream are better suited to today’s reality, Long From and Short Form and are more accepted. Content creation or delivery are words we use more and more to describe the areas we work in. The reason this is important is because of the rights to show the content that is created. How we restrict, who can and can’t view? Who has paid or who is watching for free? Because at some point someone has to pay the wages of the people in the business and subscriptions and advertising are what fund our cultures all around the world.

You think you are expanding your cultural horizon as you go to see the Cezanne exhibition at Tate Modern. What you are doing is paying for the people that hung the paintings on the wall, The person who pasted the paper poster on the tube hoarding. For every pound, you spend a proportion goes to the advertising sector in fact ad spending worldwide will reach nearly 885 billion U.S. dollars by the end of 2024. A talking point by Jonathan Glazier with thanks to Barrick Prince.
#advertising #broadcast #jgtvdirector

The Future of Linear TV and Being Present

The Future of Linear TV and Being Present

The Future of Linear TV and Being Present inexorably linked? It’s far enough away from the new year for all those resolutions to start failing! Have you been writing journals, meditating, and giving thanks during your brain dump? Yes, the idea of being present is big business, an app-driven online antidote to overusing social media and drifting off into a virtual unreality of detachment. Always ironic that 90% of the marketing for these journals, even the paper ones, are all through social media!
What has The Future of Linear TV and Being Present got to do with each other? There was a fascinating article in Broadcast LINK setting out the move to an online-only future and if and when we switch off linear TV for good. 

BBC director general Tim Davie laid out the future of TV at an RTS event on 7 December last year, at least in BBC terms. The DG warned the market will shift towards an internet-first future by 2030, leading to switching off many linear TV and radio channels.
“A switch-off of broadcast will and should happen over time, and we should be active in planning for it,” he said. Furthermore, he added: “We are working on how an online BBC could be the best version of the BBC, shaped around people’s interests and needs – a daily partner to your life, bringing the BBC together in a single offer with personalised combinations.”

As a lover of live directing, I hope, actually I know, there will always be a place for live as-it-happens content, even if it is delivered over the internet as a live stream. I know from my show Good Game Asia that streaming is a part of the esports gaming and lifestyle vlogging ecosystem.

I want to go more into the philosophical argument for linear TV. Television schedules have long timetabled our lives. I recall the rush home twice a week to catch Blue Peter and reports of empty streets as the final episode of the original prime suspect was shown. 

I predicted event TV or an appointment to view TV at a talk and the Royal Institute many years ago. At the time, I thought live entertainment was critical to broadcasters’ future in a growing social media presence. The idea of FOMO, I have a new acronym, FOSMS, Fear Of Social Media Spoilers, i.e. if you don’t watch Love Island, all your friends will be talking about the latest bombshell of dumping. So we timetable our lives, making space for the event, which we can share with friends and family in real time.

When the Queen’s died, we all came together on TV to share the experience with wall-to-wall live coverage on all the channels. This week we all share the grief of a family enduring the nightmare of a missing person. It is an event the whole country seems to be talking about; although one of my disconnected children walked into a news broadcast this morning oblivious to the story,

This brings me to the connection—the idea of being present. Should we all be present as we go through the current strife of strikes by essential services, government scandals, and the war in Ukraine? Isn’t that what linear TV brings us? Even while watching recording programmes, there’s still a feeling that we could get a “we interrupt this programme” announcement. We are present and connected. There’s also a practical consideration; it is easier to hack the internet that an entire broadcast network.

So is linear TV coming to an end? Are we going to see the delivery of linear TV through the internet? Given the security issue, should we maintain digital broadcasting? Is there a new technology that can deliver this as a backup to the internet?

Then there’s the social angle of the structure—the timetabling of our lives. We eat and then sit down to “Strictly” or revise until 9 when we chill watching “Love Island.” Meals and eating together have passed as typical times to be present in family life. Some families can unite around sporting events.

How will the demise of linear timetabled TV impact our ability to be present? When first contact happens, where do we go to experience the landing? Suppose there is another pandemic; how do we all connect for those briefings, even if we return to social media to discuss? 

I suppose I am asking, “where is the community?” the conduit for community communication.

One hundred years ago, it was the BBC, one community for those able to afford a television.

Then D.E.R. gave us TV rentals, and mass access to TVs became a reality. It wasn’t long before big business cottoned on the captive nature of the audience, advertising became TV’s paymaster, and independent commercial broadcasting was born. We had two communities, BBC and ITV, and then other channels joined; other platforms came about through BSB and then Sky with yet more separated communities. However, there was a common thread in all these communities; they were on all the time and simultaneously. Next came the Streamers – Netflix, Amazon, Apple, Disney etc. Now we have entertainment anytime, anyplace. At the moment, we still have 24-hour linear news and broadcasters. Our goto places during times of trouble, national grief or celebration. But we have many communities to serve through groups on social media. In some cases, small groups.

We still need the comfort of one place of safety, a place of trust with no barriers to entry and no passwords or subscriptions to join. As the zombies run wild, before the power cuts out forever, I want to hear Hugh Edwards telling all my neighbours and me to lock the doors and keep quiet. Then I believe we will have a fighting chance of survival.

Jonathan Glazier: TV Director, Executive Producer, Lecturer at University for the Creative Arts. Former Head of BBC Light Entertainment and International Formats, MD FoxWorld TV UK. Creative Director at Talent TV, Creative Director Endemol Asia.

You can find me on social media at.

https://linktr.ee/JonathanGlazier

Pro social media

https://www.linkedin.com/in/jonathanglazier/

Harry and Meghan Documentary: Hidden Messages

Harry and Meghan Documentary Hidden Messages
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Harry and Meghan Documentary: Hidden Messages is part one of my look at some of the production techniques used in the Netflix documentary. It’s not a review of the documentary or a commentary on the story. Its is my analysis of how the production team have used certain techniques to tell the story. Some of these techniques have a hidden psychological effect on the audience. They are well known in the advertising business. I use them all the time; even the title of this video is designed to hook you in; the Harry and Meghan Documentary: Hidden Messages, Harry and Meghan -is probably the most talked about and searched-for keyword today, and Hidden Messages is designed to create curiosity in the reader. Giving you the desire to find out what these messages may be and implying that you will come away from watching the video better informed.
#uktvreviews #jgtvdirector #harryandmeghannetflix

So let me know what you think of my observations.

Key moments in this video

0:00 Start
0:06 What is this video about
0:40 Review Time
0:48 The Disclaimer and what it really means
2:45 Power Words set Agendas
4:00 The Towel Shot
5:05 The Master IV

You can find me on social media at.
https://linktr.ee/JonathanGlazier

HOW TV WORKS EXCLUSIVE: TV Director on the INSIDE STORY

How to TV
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EXCLUSIVE: TV Director on the INSIDE STORY of How TV works. Do you want to know how to make better videos to attract, engage and retain viewers? Using my experience making shows like Asia’s Got Talent and my 40 years in the broadcast business, I hope I can help. Using reviews of good and bad shows you watch and connecting them to YouTube videos that work, I will share my techniques for great storytelling. I am also going on a journey on YouTube. Using it as a place to experiment, make mistakes, and hopefully succeed. After 40 years, I still have so much to learn. How TV works is a mixture of reviews and behind the scenes of TV and my career.

Thanks JG you can find me on social media at. https://linktr.ee/JonathanGlazier

Pro social media https://www.linkedin.com/in/jonathanglazier/

Jonathan Glazier: TV Director, Executive Producer, Lecturer at University for the Creative Arts. Former Head of BBC Light Entertainment and International Formats, MD FoxWorld TV UK. Creative Director at Talent TV, Creative Director Endemol Asia.

“Are Subscriptions Worth the Price?”

New Blog Post

Are Subscriptions Worth the Price? In recent years, streaming services such as Netflix, Amazon Prime, Apple Plus, and Disney have become a staple in households worldwide. However, as the cost of living continues to rise, more and more people are finding themselves forced to cut back on subscriptions, including those for streaming services.

The Cost over Value

  1. Netflix: offers a wide range of TV shows and movies, and is a great option for those who enjoy binge-watching. Netflix has three subscription plans, starting at $8.99 per month, $13.99 per month, and $17.99 per month.
  2. Amazon Prime: This streaming service is a great option for those who enjoy a mix of TV shows and movies, and who want additional benefits from their subscription. Amazon Prime costs $12.99 per month or $119 per year. This subscription includes access to Amazon’s Prime Video library as well as other benefits such as free shipping and early access to Amazon deals.
  3. Apple Plus: This streaming service is an excellent option for Apple users who want access to Apple’s original content and other services. It doesn’t have a vast selection of original material like Netflix and Amazon, but what it does have is pure quality. Apple Plus costs $4.99 per month and offers original content, movies, and TV shows.
  4. Disney: It includes access to Disney’s vast library of films and TV shows, including Star Wars, Marvel, and Pixar titles. This streaming service is perfect for families and for those who love Disney’s content. Disney costs $6.99 per month and offers access to Disney’s extensive library of movies and TV shows, as well as original content.

The Choice

While these streaming services offer a variety of content for viewers, their high monthly or annual cost can be prohibitive for many people, especially during a cost-of-living crisis. It’s important to weigh the cost of a subscription against the value it provides, as well as considering alternative options such as sharing accounts with friends or family, or choosing one or two services instead of subscribing to all of them. Ultimately, the decision to continue or cancel a subscription will depend on each individual’s financial situation and entertainment preferences.

In conclusion

So are subscriptions worth the price? Yes, but in moderation. If you only watch Ted Lasso on Apple plus, you are not getting Value for money. Disney is an excellent option if you have kids. The hard choice is between Netflix and Amazon; my advice is, to be honest, are you a Netflix person or an Amazon person? I think we are all a bit of both. I would probably subscribe to Amazon prime regardless of their video offering; if you are a regular online shopper it makes sense to pay fro free delivery alone.