I’m having a bit of a crisis. Not about who I am — that I’ve figured out over the years. But about what I am.
For most of my life, I’ve been someone who made TV. Started in sound, moved into directing, then producing. Eventually I was running departments at the BBC, then working with U.S. networks, then flying to New Zealand, then returning to a struggling independent scene in the UK. Finally, I found my niche in international production. Shows like Asia’s Got Talent, I Can See Your Voice, and Sadeem.com helped define that phase of my career.
It worked. Until it didn’t.
When the Work Disappears, the Questions Begin
It’s not that I stopped being good at what I do. I still direct, produce, troubleshoot, mentor, and deliver. But the demand for what I do has dried up. The kind of shows I’ve spent decades making are no longer being commissioned — not at the same rate, not with the same certainty.
I’m not the only one. The industry is contracting. Freelancers are struggling. Projects are on hold. Big companies are shrinking. The slowdown isn’t just local — it’s global.
So I found myself asking a question I never expected to ask again:
What am I now?
I Know Who I Am — But What Am I?
This isn’t some midlife crisis or personal reinvention story. I’ve done enough reflection for one lifetime. I know who I am.
What I don’t know is how to describe what I do now. If traditional TV is no longer the centre of my professional world, then where do I take those same skills? Who needs someone like me — someone who knows how to craft content, tell stories, manage production, solve creative problems, and train others to do the same?
The answer, I think, might be here:
The Creator Economy.
Why the Creator Economy Feels Like a New Beginning
Now, just to be clear — I’m not turning into a YouTuber. I’m not trying to sell online courses about selling online courses. That’s not the Creator Economy I’m talking about.
I’m talking about a space where real content gets made. Stuff that informs, educates, and entertains. Formats, games, documentaries, quizzes, drama, and reality shows — just done differently, watched differently, and funded differently.
The Creator Economy is becoming a full-blown industry, with roles at every level. Not just creators and influencers, but editors, producers, researchers, organisers, assistants, and creative leads. The kind of jobs that used to only exist in broadcast or film are now cropping up on digital platforms and creator-led teams.
It feels a bit like television in its early years. Unstructured, fast-moving, full of opportunity — if you know where to look.
Rebuilding, Not Reinventing
This is not a reinvention. It’s a reapplication.
I’m taking what I know and putting it to work in a new space. The Creator Economy needs people who understand audiences, story beats, emotional payoffs, visual structure, and scalable ideas. It needs people who’ve delivered real content under pressure. It needs people like us — if we’re ready to adapt.
This is the start of that shift for me. And if you’re asking similar questions, maybe it’s your start too.
What Comes Next? What is the Creator Economy?
This is the first in a new blog series where I explore how people with backgrounds in TV, film, production, and storytelling can find their place in the Creator Economy.
Next up: “What Is the Creator Economy?”
I’ll break down what it is, what it’s not, and why it might be your next move too.
Let’s Build Something New
If you’re a creative professional, director, freelancer, showrunner, or just someone who feels the ground shifting under your feet — join me. There’s no map yet. But there’s something happening. I believe the Creator Economy is the next big space for people like us to thrive — not just survive.
Executive Producer | Director | Format Creator in broadcast TV
New world:
Creative Consultant + Content Strategist for the Creator Economy
Helping individuals and companies turn ideas into engaging content across platforms.
2. Your New Core Message
“I help creators, founders, and media professionals turn everything into content—by applying TV-level storytelling, structure, and strategy to the creator economy.”
That becomes the tagline across your profiles, lead magnets, and intro content.
3. Your Creator-Economy Pillars
Your content, products, and services sit on three value pillars:
Smarter Storytelling
Teach creators and businesses how to structure content with hooks, narrative, emotional payoffs—like TV pros do.
Think: short Reels, course modules, PDFs, mini-consults.
Better Workflow
Tools, Notion templates, systems, and SOPs you’ve built—now adapted for solo creators, podcasters, YouTubers, etc.
Format Thinking
Help creators “package” their content ideas like shows: what’s the repeatable structure? What’s the hook? What’s the value promise?
4. Where You Show Up (Platform Focus)
LinkedIn – your personal brand HQ
Instagram Reels – short, engaging insights (TV for creators)
My Genius Game ITV review, is anyone free to have a Zoom to explain it to me?
I still don’t know what the prize is? I saw a crown for £10,000,000 but that seems quite excessive even for a network desperate for ad dollars and viewers.
The difference between Claudia and David is driven by the fact he’s not in the room, there’s no empathy, it’s not his fault but he feels over-scripted and inauthentic.
It’s made at one of my favorite studios, Maidstone, and my favorite Korean company came up with the idea, so I feel bad that I didn’t like it.
And just a note on casting, it needs a boy from Leeds George Town who talks like a tiktoker and satisfies all the stereotypes of a shoplifting, vaping school dropout, only to find he can play the piano and articulate with poetry in music and words. Or a single mum from Tottenham with two kids living in a mould-ridden rental. Even a blonde with toothbrushes glued to her eyelashes, breaking a nail on one of the puzzles. Then all 3 of them dazzle with their genius and shame the entire audience for judging people by the cover and not the words within. That is great tv. 11 educated elite, even with northern accents, doesn’t hack it. Sorry, as a former director of Krypton Factor, which aimed to showcase genius as egalitarian to educate the audience away from judgmental behaviour, this annoyed me. Page 3 weakest link, secretaries v solicitors on test the nation. This is how we challenge prejudice, our confirmation or unconscious bias. This is how we elevate our tv beyond the “we are clever” flat dimension. Sorry it looked great, was shot well but I wanted more, and I wanted to understand it. I hope destination x doesn’t disappoint.
The £10 million crown featured in the “Gold Heist” game is indeed symbolic and serves as a high-stakes visual element within that specific challenge. The actual prize fund is built through garnets, the show’s in-game currency, each valued at £1,000. As of Episode 2, contestants have collectively earned 15 garnets, totaling £15,000 in the prize fund . The final cash prize awarded to the winner will be the total value of garnets accumulated throughout the series
Genius Game ITV Review Production Details
Genius Game Host
David Tennant leads the show as “The Creator.” Best known for his roles in Doctor Who and Broadchurch, Tennant brings a commanding presence to this high-stakes competition.
Genre & Contestants
Genius Game is a reality competition featuring 11 members of the public, each selected for their strategic thinking and social acumen. Contestants include a forensic scientist, a DJ and NHS doctor, a PhD student, and a comedian/poker player. Their diverse backgrounds contribute to the show’s dynamic interplay of intellect and strategy.
SynopsisGenius Game ITV review
Adapted from the South Korean series The Genius, Genius Game challenges contestants with a series of complex games designed to test their intellect and social manipulation skills. Each episode features a Main Match, where players compete for immunity, and a Death Match, where the loser of the Main Match selects an opponent for a head-to-head elimination game. Garnets, the show’s in-game currency valued at £1,000 each, can be used to gain advantages and form alliances. The contestant who outlasts all others is awarded the title of “The Genius” and a cash prize.
Channel & Premiere
Genius Game premiered on ITV1 and ITVX in the UK on April 30, 2025. The series consists of eight episodes, airing weekly on Wednesdays and Thursdays.
Key Creatives
Creator: Adapted from the South Korean format The Genius.
This is myMobLand review, I loved it mainly because of Tom Hardy — one of our finest actors — and this role fits him perfectly. While the story treads familiar ground, the cast lifts it into something genuinely engaging. The performances are excellent, and that’s the real reason to watch.
It moves quickly, but the relationships still feel authentic. There’s emotional depth, even if it occasionally leans on familiar tropes. As always, family sits at the heart of the drama.
There are several twists — some so layered you might need a second screen to keep track of who’s connected to whom — but overall, it’s very watchable and worth your time.
MobLand is a gritty British crime drama set in contemporary London, where two rival crime families—the Harrigans and the Stevensons—vie for control of the city’s criminal underworld. When tensions boil over, an outsider with a violent past is brought in to restore balance. The series explores themes of loyalty, legacy, and survival in a world ruled by power and blood.
Original Channel and Premiere Date
Channel: Paramount+
Premiere Date: March 30, 2025
Key Creatives
Writer: Ronan Bennett
Director: Guy Ritchie
Production Company: Moonage Pictures in association with Paramount Television Studios
Cast
Tom Hardy as Harry Da Souza
Peaky Blinders, Taboo, The Revenant
Pierce Brosnan as Conrad Harrigan
The Son, The Matador, GoldenEye
Helen Mirren as Maeve Harrigan
Catherine the Great, Prime Suspect, The Queen
Joe Cole as Richie Stevenson
Gangs of London, Peaky Blinders, A Prayer Before Dawn
Sophie Cookson as Isla Stevenson
The Trial of Christine Keeler, Kingsman: The Secret Service, Gypsy
Next Episode Info
Next Episode Date: April 21, 2025
Release Schedule: Weekly, Sundays
Total Episodes (Season 1): 10
Finale Air Date: June 1, 2025
Let me know if you’d like this in a different format or want to cover another series!
“MobLand” is a 2025 British crime drama series streaming on Paramount+, created by Ronan Bennett and directed by Guy Ritchie. The show features a stellar cast, including Tom Hardy as Harry Da Souza, a fixer for the Harrigan crime family; Pierce Brosnan as Conrad Harrigan, the family’s patriarch; and Helen Mirren as Maeve Harrigan, the matriarch .
Premise:
Set in modern-day London, “MobLand” follows the Harrigan family’s struggle to maintain their criminal empire amid escalating tensions with the rival Stevenson gang. The series delves into themes of power, loyalty, and betrayal as the families navigate the treacherous underworld.
Episodes:
The series premiered on March 30, 2025, with new episodes released weekly on Sundays. As of April 15, 2025, three episodes have aired:
“Stick or Twist”
“Jigsaw Puzzle”
“Plan B”
Reception:
“MobLand” has received generally positive reviews, with a 79% approval rating on Rotten Tomatoes based on 34 critics’ reviews . The series has been praised for its compelling performances and gritty storytelling.
Availability:
You can stream “MobLand” on Paramount+. Additionally, the first episode is available for free on YouTube for a limited time.
If you’re interested in a gripping crime drama with a strong cast and intricate plotlines, “MobLand” is worth checking out.
I enjoyed this “Paradise” thriller on Disney+ so much! There are 8 episodes and they are all available to stream in the uk of the Star part of Disney+. There will be no spoilers here, suffice to say it’s a great thriller—you can almost forget the circumstances. It’s just well written, directed, and acted. Sterling as the male lead is superb, exactly what I’d expect a Secret Service person to be. Julianne Nicholson is sublime, complex, and believable. There are some genius twists in the plot; it kept me guessing and I had no idea of the outcome. I really recommend it. It’s not “post-apocalyptic”—it’s just a good thriller. The trope of the captive cast has been played out in many dramas from the USA, but this one for me stands out.
Paradise is a political thriller set in a vast underground bunker in Colorado, housing 25,000 survivors three years after a global catastrophe. The narrative follows Secret Service agent Xavier Collins, who becomes the prime suspect in the murder of President Cal Bradford. As he endeavors to clear his name, Xavier uncovers a web of secrets that challenge his understanding of reality and the power structures within the bunker.
Original Channel and Premiere Date
Original Channel: Hulu (U.S.), Disney+ (International)
Premiere Date: January 26, 2025
Key Creatives
Creator/Writer: Dan Fogelman
Director: Glenn Ficarra
Production Companies: Rhode Island Ave. Productions, 20th Television
Cast
Sterling K. Brown as Xavier Collins
Notable Works: This Is Us, The People v. O.J. Simpson: American Crime Story, Black Panther
James Marsden as President Cal Bradford
Notable Works: Westworld, Jury Duty, X-Men series
Julianne Nicholson as Samantha “Sinatra” Redmond
Notable Works: Mare of Easttown, Masters of Sex, August: Osage County
Sarah Shahi as Dr. Gabriela Torabi
Notable Works: Person of Interest, Sex/Life, The L Word
Nicole Brydon Bloom as Agent Jane Driscoll
Notable Works: The Affair, Law & Order: SVU, 1BR
Next Episode of “Paradise” thriller on Disney+
Next Episode: Episode 4, “Agent Billy Pace”
Air Date: Monday, April 28, 2025, at 10:00 PM ET on ABC
Release Schedule: Weekly episodes airing on Mondays; all episodes available for streaming on Hulu and Disney+
Paradise has been renewed for a second season, with production underway and a planned release in early 2026.
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.
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.
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.
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:
“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.”
“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.”
“Growing up dyslexic taught me how to think differently, and that difference has become my greatest strength in solving creative challenges.”
“What began as a fascination with courtroom dramas became a real-world passion after I shadowed a barrister for a week during school.”
“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.
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.)
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…
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.
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.
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
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
🤖 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.
It’s Friday, which means it’s time for another altmedia newsletter. This year, I’m making it a bit more personal—sharing my perspective while still delivering insights on the state of content in the media world. and how I go about Navigating the Shifts in Media and Entertainment. Whether it’s broadcast TV, streaming platforms, social media, or the rise of FAST channels, I’ll be diving into the business, reviewing content, sharing insights, or even having a good old rant when it’s warranted.
But let’s be honest: what qualifies me to be a voice in this space? I ask myself that question regularly. The fact that anyone reads what I write—and sometimes even comments on it—never fails to amaze me.
On paper, my qualifications are unconventional, to say the least. I don’t have a media degree, MBA, or journalism background. My hobby—studying A-levels for fun—is unusual. I don’t sit the exams, so who knows if I’m learning anything? And then there’s my ongoing project to learn Mandarin. I can read and write 3,000 characters, but my speaking skills? Let’s just say there’s room for improvement. When people ask me why, my only answer is, “Because I like it.”
One thing I do proudly support is the Royal Society for the Arts. I get to put FRSA after my name, but truth be told, I filled out a form and set up a direct debit. It’s a charity I believe in, and its values closely align with mine, but let’s be clear—it’s not a qualification.
So, before I risk losing your attention entirely, let me add some plus points. I’ve been in this industry for a staggering 41 years—and I’m still learning every day. I’ve worked as a sound professional, directed and produced iconic shows, headed up light entertainment and international formats at the BBC, and produced TV on every continent that has one.
Not every project has been jazz hands and reality competitions. I’ve worked on factual programs, business shows, documentaries, comedy—you name it. OK, maybe not scripted drama (yet), but the rest? It’s been a journey. I’ve pitched ideas, crafted formats, and mentored talent around the world.
And here’s the thing that constantly surprises (and frustrates) me: I seem to have more energy, excitement, and passion for this industry than people a fraction of my age. I was about to say half my age, which would make them 32 years old—but honestly, I mean people under a third of my age!
So, does all that qualify me to write this newsletter? Maybe. Maybe not. That’s for you to decide.
What I do know is this: writing has become a deeply personal joy for me. As a dyslexic who faced years of educational challenges, finding my voice through writing has been a triumph. Even if only two people read this newsletter, I’m fulfilled and grateful.
To those of you who join me each week—thank you. Let’s dive in.
The 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.
Watching the Golden Globes this week, Arrested Industries CEO Anthony Kimble captured the essence of what many in the industry are feeling: the U.S. entertainment juggernaut may finally be waking up to the global stage.
Anthony Kimble on the Golden Globes: A Wake-Up Call for Global TV
These awards, traditionally a celebration of Hollywood’s glossy powerhouses, surprised many with a roll call of unexpected winners—stories and talents that defy the norm.
Kimble highlighted some groundbreaking moments:
• Two women over 60—Jodie Foster (True Detective) and Jean Smart (Hacks)—taking major awards, alongside Demi Moore’s win for The Substance.
• The Japanese-language series Shōgun sweeping the drama category, with Anna Sawai, Hiroyuki Sanada, and Tadanobu Asano recognized for their performances.
• The indie-led Baby Reindeer, an unflinching black comedy, crowned Best Miniseries.
• Even films followed suit, with winners like The Brutalist and Emilia Perez daring to tell stories outside the Hollywood template.
Kimble noted that the awards didn’t feel like box-ticking exercises. Instead, they reflected an authentic shift toward diverse, unconventional storytelling—proof that audiences crave complexity, risk, and originality.
The Bigger Picture
For decades, a U.S. studio deal was the ultimate prize for producers worldwide. But as Kimble astutely observed, pandemics, industry strikes, and the rise of streaming platforms have eroded the old power dynamics.
Streamers, with their focus on international markets, have opened doors for non-English language productions and local creators, helping indie producers take bolder risks. These changes reflect not just a shift in production power but also the evolving tastes of global audiences who want stories that mirror the world’s diversity.
Takeaways for Creators
Kimble’s appraisal of this year’s Globes leaves us with some clear lessons:
Dare to be different: Originality and risks are paying off.
Authenticity matters: Diversity works when it feels genuine.
Think globally: Non-English language productions are drawing audiences worldwide.
Big studios aren’t essential: Streamers and indie producers are reshaping the landscape.
Don’t underestimate experience: Older actors and unconventional talent are finally getting their due.
The Golden Globes this year were more than an awards show—they were a reflection of the industry’s seismic shifts. As Kimble aptly put it, the golden glow of these wins should inspire creatives and producers everywhere.
So, let’s take that inspiration forward. Keep taking risks. Keep telling stories that matter. And, yes, maybe give those prosthetics a second look!
What’s Been Happening in the Media World This Week?
This week, the entertainment industry gave us plenty to talk about, from exciting new releases across platforms to the Golden Globe Awards sparking conversations about the future of storytelling. Let’s dive in.
New & Returning Series to Watch
As January rolls on, the major players have wasted no time bringing both old favorites and fresh series to our screens. Here’s what’s caught my eye:
• “Stranger Things” Season 5 (Netflix): The Hawkins gang is back for their final adventure in this global phenomenon, premiering later this year.
• “The Last of Us” Season 2 (HBO): Joel and Ellie’s journey continues this April, promising more drama, danger, and emotional depth.
The Pitt (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.
TV Format Consultant | Strategic Media Consulting | Production Consultant. | FAST Channel Specialist | Dyslexia Advocate | Building Connections & Teaching Through Storytelling
Happy New Year! As we step into 2025, we find ourselves in an industry that’s shifting beneath our feet. The seismic changes in the TV world bring challenges—but also immense opportunities, especially for freelance creatives. I hope my take on A 2025 Manifesto for Creatives suffering the freelance jobs crisis helps.
Manifesto v Resolutions
This year, instead of setting resolutions, I’m drafting a manifesto—a declaration of principles and intentions to guide me through the year. It’s a response to the times we live in and a reminder that change isn’t just something that happens to us; it’s something we can shape. Resolutions are just designed to help us fail!
The idea of a manifesto is gaining momentum, with thought leaders like Steven Bartlett and Adobe championing it as a new way to focus and achieve your goals. In their approach, a manifesto isn’t just about what you want to do—it’s about who you want to be and how you plan to impact the world. You can read more about this movement here.
My Personal Manifesto
This is my personal manifesto—a mood board for 2025. It’s visually oriented, which is perfect for someone like me, a dyslexic thinker. While there’s a brief written version, it’s more about values than detailed plans. Goals are included, blending personal aspirations with professional ambitions, and even a touch of manifestation.
Many productivity systems begin by separating work and home into distinct categories. I believe this approach doesn’t reflect the reality of freelance, gig-based, and uncertain career paths, where the line between work and home is often blurred. Instead, we should embrace them as one.
A task list should encompass all aspects of life: achieving personal goals, maintaining physical and mental health, fostering relationships, and practicing sound financial management. These areas are interconnected, influencing how we earn our income and approach what we traditionally call “work.”
Just as the 9-to-5 office job is increasingly outdated, so too is the strict separation of work and personal life. Systems like Notion’s Second Brain advocate starting with a unified task list, and I think that’s the way forward.
Keeping Freelancers in Mind
But before diving in, I want to take a moment to acknowledge something important: the freelancers who are pivoting or have already pivoted away from this industry we all love. It’s not just a career decision; it’s a deeply personal and often traumatic choice. Leaving TV and media—whether to seek stability, explore new passions, or adapt to industry disruptions—doesn’t mean severing the close bonds we forge in production.
If you’ve pivoted, know this: you’re still part of our community. Those of us who remain in the industry have a responsibility to support you and ensure these relationships stay strong. The work we do is shaped by collaboration, and that sense of camaraderie should transcend career paths.
Now, let’s talk about how we can move forward together.
Manifesto 2025
A Manifesto for Freelance Creatives in 2025
Let’s align our work with purpose and progress. Here’s my five-point manifesto for thriving in 2025:
1. Embrace the Disruption
The industry is changing fast, and rather than resist, let’s lean into it. Whether it’s experimenting with new formats, embracing virtual production, or diving into short-form storytelling for platforms like TikTok, this is the time to adapt and grow.
Practical Tip: Identify one trend in your area of expertise (e.g., AI in production or the rise of FAST channels) and commit to exploring how it could enhance your work.
2. Prioritize Collaboration Over Competition
The best ideas are born from diverse perspectives. Let’s make 2025 the year we actively support each other as freelancers—sharing knowledge, resources, and opportunities.
Practical Tip: Join or create a network of like-minded professionals. Platforms like LinkedIn groups, industry meetups, or creative hubs (like the RSA) are great starting points.
3. Lead with Integrity
The creative industries thrive on trust and respect. Integrity isn’t just a moral choice; it’s a foundation for sustainable careers. Be transparent in your dealings, fair in your collaborations, and purposeful in your projects.
Practical Tip: Draft a personal code of ethics to guide your decisions. Include values like inclusivity, fairness, and accountability.
4. Invest in Lifelong Learning
The pace of change demands we stay sharp. Whether it’s mastering a new editing software, understanding emerging platforms, or honing your storytelling skills, continuous learning is essential.
Practical Tip: Dedicate 15 minutes daily to learning. Free resources like Coursera, MasterClass, and industry webinars make it easy to upskill without overwhelming your schedule.
5. Design for Impact, Not Ego
Shift the focus from self-promotion to creating work that matters. Ask yourself: How does this project inspire, challenge, or uplift others? Impact resonates longer than individual recognition.
Practical Tip: For every project, set one measurable goal that reflects its potential impact—whether it’s audience engagement, sparking meaningful conversations, or amplifying underrepresented voices.
RSA
A Word About My RSA Fellowship
This year, I took a step aligned with this manifesto by becoming a Fellow of the Royal Society of Arts (RSA). The fellowship is not about recognition it is about commitment.
The RSA is a charity whose mission is to inspire better ways of thinking, acting, and designing a fairer society. Fellows apply to join because they share these values—not because of accolades or status.
For me, joining the RSA is about embracing:
• Inclusivity: Creating opportunities for everyone, regardless of background.
• Ethical Design: Shaping systems and practices that promote fairness and innovation.
• Integrity: Advocating for meaningful change, not self-promotion.
I hope to contribute actively to these ideals and encourage you to explore communities and organizations that resonate with your personal values.
Draft Your Own Manifesto
This year, I challenge you to go beyond resolutions and create your own manifesto. Write down what matters most to you as a creative and how you intend to align your work with those principles.
Need inspiration? Start with these prompts:
• What change do you want to see in the industry?
• What values will guide your decisions?
• How will your work contribute to a better, fairer creative landscape?
Building a Better Industry Together
2025 is a year for optimism, creativity, and action. Let’s embrace the challenges ahead and work towards an industry—and a world—that inspires us all.
Whether you’re staying in the industry or venturing into something new, your experience and connections are invaluable. Let’s keep supporting one another, regardless of where the road leads.
What’s in your manifesto for this year? I’d love to hear your thoughts—share them with me or join the conversation online. Together, we can shape the future.
Here’s to a year of positive change! draft your version of A 2025 Manifesto
First of all this is the last altmedia before Christmas, I wish all friends, colleagues and readers a happy Christmas and I hope that whatever you do, 2025 is a year of calm and new chapters. I am returning to the UK after helping the Singapore version of “I can See Your Voice through production.” It will TX in January and the team have created a highly entertaining version of the show.
As we close out 2024 and look ahead to 2025, the film and TV industry finds itself at a crossroads. For many professionals, the choice is clear but painful: Should I stay or should I go now? It’s a decision driven not just by passion, but by harsh economic realities. While some remain hopeful, seduced by the promise of a brighter future, others have already left, worn down by the hard realities of prolonged unemployment and shrinking opportunities.
The paradox of record-breaking investments and job creation figures versus the on-ground struggles of freelancers and creatives raises critical questions about the sustainability of the industry as it currently operates. Here’s where we stand—and where we might go next.
And just a couple of links if you are deciding if you pivot out of the TV industry. These two facebook groups are excellent sources of information and support:
I’ve had some comments about AI taking jobs or threatening to take jobs. We can’t duck the single most important innovation since the internet. We need to embrace it learn it and use it. I don’t believe it heralds the end of the creative industries. It frees us to be creative. If you read up on how AI frames its decisions compared to humans we are several years away from artificial brains and decades of conscious machines. Ultimately AI will create jobs for developers and for prompt writers.
Yes, my graphics are generated with the help of AI. I’d only ever create my own, it would take hours and the end result would be rather poor. I don’t believe I have taken an employment opportunity away from anyone. But it enables me to produce this newsletter in a reasonable time. And I hope this newsletter is a source of information and a point of discussion about the state of our industry.
The Human Touch vs. AI: Finding Balance in a New Creative Era
AI is here to stay. While it sparks concerns about job security and copyright infringement, it’s already widely embraced by many, including graphic artists who incorporate it into their creative processes. After conducting extensive research on this topic, I believe the way forward is to approach AI’s role in creative industries similarly to how “fair use” operates under copyright law.
Legislating against AI’s use seems impractical—it’s impossible to “turn it off.” Instead, we should focus on defining clearer boundaries and ensuring transparency. Much like how Creative Commons tags are used to identify photo usage rights, AI-generated images and content should be tagged. This approach not only builds trust but also reinforces the value of human creativity, which remains unmatched in its originality and depth.
AI, by its nature, aggregates knowledge and produces results based on averages. The outputs it generates are accessible to anyone, often lacking the unique spark that comes from human creativity. Scrolling through templates on platforms like Canva feels eerily similar to using AI tools: functional but rarely groundbreaking. In contrast, the work of human creators still has the power to astonish with its originality and emotional resonance.
As a new Fellow of the Royal Society for the Encouragement of Arts, Manufactures, and Commerce (RSA), I’ve been exploring AI’s role in modern society. This organization is renowned for its thought leadership and research into societal challenges, making it an ideal space to consider how to integrate AI responsibly. Reflecting on the Luddite movement during the Industrial Revolution provides historical context for our current moment. While the Luddites resisted technological change to protect their livelihoods, today’s debates focus on ensuring that technological advancements benefit everyone—not just a privileged few.
Of course, these shifts won’t affect all sectors equally. For instance, I recently worked with a graphic design company that used AI to create a voiceover with text-to-speech technology—a direct replacement for a voice artist. While the motivation was cost, the lack of emotional nuance in the result highlighted AI’s limitations. This tradeoff—emotion versus efficiency—is central to the ongoing conversation about AI’s role in creative industries.
For my part, I’ve committed to clearly labeling any AI-generated graphics I use in my posts. Transparency is key, and so is fostering a discussion that values both innovation and the irreplaceable human touch. These debates are not just theoretical for me—they are part of my daily work and something I continue to engage with actively.
Let me know your thoughts—how do you see AI shaping the creative landscape?
This version refines the content, making it conversational and well-suited for a newsletter audience while maintaining the original’s thought-provoking tone.
Hard Realities vs. Rosy Narratives and Should I Stay or Should I Go?
Economic Uncertainty:
Many have waited patiently for an upturn, believing the glowing headlines about investment and job growth. Yet, for most at the sharp end of production, the reality has been gaps in income, falling rates, and growing mental health challenges.
For those who have left, the decision has been pragmatic rather than emotional: How much longer can I wait?
2. The Role of Ancillary Sectors:
• The rapid growth of ancillary sectors like distribution, marketing, and analytics has created new opportunities—but has it come at the cost of the production sector?
• Should these sectors bear greater responsibility for supporting the creatives who form the foundation of the industry? Are they doing enough to ensure that the production pipeline they rely on remains robust?
3. Global Dynamics:
• Across regions, the dominance of global players like Netflix has raised existential questions about the preservation of local production and culture.
• In Southeast Asia, South Korean content reigns supreme. In the Middle East, there is growing concern over the diminishing use of Arabic among younger generations, as English-language films and music dominate. These trends mirror historical worries in the UK when Australian soap operas influenced children’s accents and speech patterns in the 1970s.
• Does the industry need a course correction to preserve cultural diversity?
Where Do We Go From Here?
1. Rethinking Local Production Quotas
Governments could play a stronger role in preserving cultural identity through mandated local production quotas. While quotas may feel protectionist, they could ensure that local industries thrive in the face of globalized content.
• Historical Example: The UK’s concerns about Australian soaps in the 1970s led to government discussions about content balance to preserve local accents and culture.
• Modern Implications: Quotas could help ensure that Southeast Asia, the Middle East, and other regions continue to see their stories told by local talent.
2. Reevaluating Tax Breaks
Many large productions benefit from significant tax breaks to film in certain territories. But how much do these breaks truly benefit the local economy or talent pool?
• Current Reality:
• Large productions often bring their own crew, minimizing opportunities for local talent.
• Local economic benefits are limited to construction, food, and beverage, and rental fees for facilities.
• Proposed Solution:
• Introduce a content tariff instead of tax breaks. The revenue could directly fund local productions and talent development, ensuring lasting benefits for the host region.
3. Supporting the Freelance Workforce
Freelancers are the backbone of the production sector, but they remain the most vulnerable.
• What Needs to Change:
• Ancillary sectors should reinvest profits from distribution and marketing back into production to create a more sustainable pipeline.
• Governments and unions must push for standardized minimum pay rates, fairer contract terms, and access to mental health resources.
4. Balancing Global Content with Local Voices
While global hits like The Crown or Squid Game are essential to the industry’s growth, they cannot come at the expense of local stories.
• The Cultural Question:
• Does every country in Southeast Asia want to consume only South Korean content?
• Does the Middle East want its youth to abandon Arabic storytelling for English narratives?
• Striking a balance between global appeal and local relevance is critical to maintaining cultural diversity and long-term sustainability.
A Space for Optimism?
Despite the challenges, there are reasons to hope. The very conversations happening now—about equity in tax incentives, the importance of local content, and freelancer protections—represent an opportunity for change.
• The Freelancer Renaissance: Governments, unions, and ancillary sectors have the power to turn the tide by addressing structural issues and ensuring production remains the beating heart of the industry.
• Global Awareness: Regions are beginning to question the impact of imported content and explore ways to preserve their cultural identity through regulation and investment.
Closing Thought: Building a Sustainable 2025
The path forward isn’t easy, but it’s clear. If the film and TV industry is to remain both economically viable and culturally vibrant, it must recalibrate. Production must remain the core, and freelancers—those at the sharp end—must be protected and nurtured.
The question remains: Will 2025 bring the changes needed to build a fairer and more balanced industry, or will we continue to see talent leave, taking with them the stories yet to be told?
Let’s make it a year of action and accountability, ensuring that the industry’s golden age is more than just a headline.
As to should I stay or should I go? Going isn’t the end, its a personal choice just don’t leave the decision to until it’s too late.
“Exploring the paradox to uncover the truth. With decades of global production experience, I’ve seen the industry’s highs and lows firsthand. The future of film and TV depends on the answers we find.”
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.
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.
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.
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.
• 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.
• Rising Costs of Living: Inflation has hit freelancers particularly hard, with costs for rent, utilities, and equipment maintenance far outpacing average pay rates.
• Production Consolidation: Major studios are reducing the number of greenlit projects, focusing on fewer, high-budget productions that leave smaller independent crews out of work.
Perception: Left Behind by the Boom
For those on the front lines of content creation, the narrative of a booming industry feels disconnected from their lived experience. Instead of opportunity, many see:
• Inconsistent Workflows: Prolonged periods of unemployment and increasing competition for fewer jobs.
• Falling Rates: Stagnating or shrinking pay rates, even as the cost of living rises.
• Lost Careers: Talented professionals exiting the industry due to unsustainable working conditions.
Personal accounts from freelancers in the US and UK highlight the challenges faced by those in the industry:
• Alyssa Clark, a writer on Servant and The 100, describes the current landscape: “It’s brutal out there. Most of my acquaintances are taking other jobs to survive.”
• Gideon Yago, who has written for The Newsroom and The Mosquito Coast, shares his experience: “I haven’t had a single conversation with anyone in the industry that hasn’t expressed fear and frustration. That’s really, really bad when you’re in the enchantment and entertainment business.”
• A UK-based freelancer’s resignation letter, shared within industry groups, states: “This has really struck a chord with me… I’m currently feeling like quitting myself.” The letter has prompted multiple responses from others revealing similar experiences and struggles, with several saying they too had decided to leave the industry this year.
The Divide Between Headlines and Reality
While job creation figures are celebrated in headlines, the on-ground reality reflects systemic instability, particularly for the freelance workforce. This disconnect raises important questions: Are the jobs being created accessible to those who need them most? And can the industry survive if its foundational talent continues to leave in droves?
In the next section, we’ll explore how this crisis ties into the broader transformation of the industry and the shift from production roles to ancillary sectors.
The Shift from Production to Ancillary Roles
In the early days of the film and TV industry, nearly all roles were tied directly to the creation of content—camera operators, lighting techs, writers, producers, and editors. These are the “sharp-end” production jobs responsible for the physical making of a project. Over time, the industry has diversified and grown to include ancillary sectors:
Distribution and Marketing:
• Content is now sold globally across multiple platforms—linear TV, streaming, social media, and FAST channels—requiring more professionals in licensing, marketing, and analytics.
• Streamers and networks employ vast teams to manage audience engagement, monetization, and sponsorships.
2. Corporate and Administrative Jobs:
• Studios and production companies now hire in-house teams for HR, legal, compliance, and IT infrastructure, supporting global operations.
3. Post-Production and Tech-Driven Expansion:
• High-end post-production, VFX, and emerging fields like AI-driven content creation and data-driven viewer analytics are booming.
4. Facilities Management:
• With the rise of studio hubs like Shepperton or Pinewood, there’s an increase in jobs maintaining soundstages, managing logistics, and running four-wall operations.
Is This Shift Behind the Disparity?
Production Jobs Are Declining:
• Automation and Streamlining: Advancements in technology (e.g., virtual production, AI for scripts and editing) have reduced the number of roles needed on set. A single camera operator can do the work that once required several people.
• Project-Based Nature: Productions often last months, leaving workers unemployed between projects. By contrast, ancillary roles like marketing or distribution tend to be more stable.
• Globalized Outsourcing: Parts of production, like VFX or animation, are often outsourced to cheaper markets, bypassing local workers entirely.
Ancillary Jobs Are Increasing:
• Verification and Scalability: These jobs are easier to count and justify in employment figures because they tend to be full-time and longer-term, even if they don’t contribute directly to content creation.
• Growing Complexity of Content Sales: The boom in streaming has shifted priorities toward how content is sold, marketed, and monetized globally rather than how much is produced.
Are We Heading for a Crash?
If the industry’s foundational production roles are shrinking, it creates a house of cards effect for ancillary sectors: is this the source and The Truth Behind the Film and TV Job Paradox?
Dependent on Content Creation: Marketing, distribution, and sponsorship jobs depend entirely on the content pipeline. If production slows—whether due to strikes, budget cuts, or a plateau in streaming—their roles become redundant.
Overinvestment in Non-Creative Sectors: Companies are pouring resources into scaling distribution, analytics, and marketing, but this is unsustainable if production cannot keep pace.
Feedback Loop: Reduced production affects not just sharp-end jobs but also services tied to them, like catering, logistics, and equipment rentals.
Potential Warning Signs:
• Economic Plateau: If the content “boom” levels off, the ancillary job market will face significant contraction.
• Skills Imbalance: Workers leaving sharp-end roles may not easily transition into ancillary jobs, leading to widespread industry unemployment.
• Overdependence on Big Streamers: If giants like Netflix cut budgets, their entire ecosystems—local productions, global distribution teams—are at risk.
What Does This Mean for the Industry?
This transition suggests we may be over-indexing on short-term gains (jobs in ancillary sectors) while underestimating the long-term risks:
A Bubble in Ancillary Jobs? As the demand for sharp-end production diminishes, the growing layers of marketing and distribution jobs could become unsustainable.
Need for Balanced Growth: Without robust and consistent production output, the industry risks alienating the workforce and destabilizing the ancillary sectors dependent on it.
Reassessing Job Metrics: Job creation figures may be inflated by counting ancillary roles, which do not reflect the health of the industry’s creative foundation.
The Takeaway:
Yes, the rise of ancillary roles and the decline in production jobs could explain the disparity in job figures. But this trend is unsustainable if the industry’s core—content creation—continues to shrink. A significant slowdown in production would ripple through all sectors, potentially leading to a systemic crash.
On Friday, I will end this series by attempting to look to the future and provide some thoughts on the question, “Should I Stay or Should I Go Now?”
“Exploring the paradox to uncover The Truth Behind the Film and TV Job Paradox. With decades of global production experience, I’ve seen the industry’s highs and lows firsthand. The future of film and TV depends on the answers we find.”
