BBC Studios’ Post

This is required reading to understand where the entertainment industry is currently. An incredible article that gives the blueprint on how Wall Street and Tech made things worse not just for the studios. But for the creatives themselves. This is the rallying cry for us, the storytellers, to build something new and sustainable. Before we're swallowed as part of the next push for higher quarterly numbers. https://lnkd.in/gT2PTEX5

Get ready for Disney+ HOUSE OF THE OWL. A Japanese crime thriller set in the world of politics and power in Japan. (On Hulu in the US.) David Shin, what a fascinating Variety article about the differences between a Hollywood vs Japanese style production. For anyone who wants to know many of the why's behind how projects are written and made-this article is an insightful breakdown. Can't wait to dive into this world of politics and power! #japan #international #tv

FilmTake Away: Death of Another Hollywood Golden Age Beyond financial losses, Hollywood’s creative infrastructure has eroded. Once a haven for artistic risk and collaboration, the industry has become a content conveyor belt. Streaming platforms prioritize global appeal over creative depth, churning out formulaic action, horror, and thriller genres at the expense of mid-budget dramas, adventures, comedies, and genuinely unique voices and visions. The superhero genre, once its crown jewel, is fading under the weight of oversaturation and audience fatigue, devolving into a rebellion by the fandom. Yet, in this chaos lies an opportunity. As audiences reject formulaic content and mediocrity, a new wave of creativity can emerge, reshaping the film industry. Whether Hollywood can rise to this challenge is unclear. But one thing is clear: the industry must evolve—or risk being left behind in the attention economy.

The Hollywood way is more than three-point lighting and the three-act structure. It's also about the structure of the work itself. This is a Variety article about the differences between limited and recurring series, and why Asia favors the former and Hollywood the latter. https://lnkd.in/gbNtBPTA

BBC Studios, the BBC’s main commercial arm, has seen a steady growth since 2018-19, delivering returns of £1.9 billion back to the BBC. https://lnkd.in/esRCmaQm However, it faces challenges if it wants to achieve its ambitious target of doubling its size by 2027-28.  BBC Studios current growth plans involves exploiting existing successful key brands, such as Doctor Who and Bluey. It is also looking to produce more content for non-BBC third parties, and receive a larger share of its income and profits from digital services.  To meet its target of doubling its size and realise its ambitions for continued growth in turnover and profit, BBC Studios will need to successfully evolve in a highly competitive and dynamic global market. Read our report into the BBC's commercial wing here: https://lnkd.in/esRCmaQm

🎬 The UK and Ireland are truly bustling hubs for high-end film and TV production, and the current slate of projects is a testament to their influence in the global entertainment industry. From the poignant road trip tale of **500 Miles**, starring Bill Nighy and Maisie Williams, to the thrilling continuation of **Peaky Blinders** under the direction of Tom Harper, there's an impressive array of films in the works. High-profile ventures such as **Jurassic World 4** and adaptations like **Borges and Me** capture a diverse narrative spectrum, showcasing everything from psychological thrillers to touching memoirs. Television too is thriving, with new seasons of **Bridgerton** and **The Witcher** underway, offering continued engagement with beloved stories and characters. The genre variety spans family dramas to espionage series, catering to a wide audience via platforms like Netflix and Amazon Prime. This extensive geographical spread—filming across iconic locations from Scotland to Pinewood Studios—highlights the strategic and creative allure of the UK and Ireland for international productions. For industry professionals, these projects not only reflect the adaptability and innovation thriving in our regions but also emphasize the importance of these areas in the fabric of global storytelling. 📚✨ What productions are you most excited to see? Let's discuss how these trends are shaping the future of the industry! #FilmProduction #TVTrends #UKFilmIndustry #InnovationInMedia

The summer of 2023 was significantly impacted by the writers' and actors' strikes, leading to production delays and postponed releases. Consequently, the number of new releases dropped, with some highly anticipated films pushed to 2024.   Despite the hurdles, 2023 still saw major hits like "Oppenheimer," "Barbie," and "Mission Impossible."   However, summer 2024 is far more crowded 🎬, offering a diverse array of films across various genres, reflecting a backlog of delayed projects now hitting theaters and streaming platforms.   Top 3 Box Office Successes of Summer 2024 So Far: 🥇 Inside Out 2 ($1.595 billion) 🥈 Deadpool & Wolverine ($1.143 billion) 🥉 Despicable Me 4 ($818 million)   Top 3 by IMDB Ratings: ⭐ Sing Sing (8.2) ⭐ Deadpool & Wolverine (8.0) ⭐ Inside Out 2 (7.8), I Am: Celine Dion (7.8)   Don’t Miss What’s Coming Soon🔥 ▪ Blink Twice: The directorial debut of Zoë Kravitz. ▪ The Crow: A highly anticipated reboot, promising to recapture the dark allure of the original. ▪ Incoming: A comedy about four teenage boys navigating their first week of high school streaming on Netflix.   Navigate through the dynamic dashboard 📊 to check the release timeline, IMDB ratings, and streaming platform details.

"𝐋𝐮𝐦𝐞 is a thriller, which is commercially one of the best vehicles, but it’s the first TV series that portrays the wildfires as a social issue. There are more and more wildfires not just in Spain and Portugal, but even Germany and Canada. It’s a global issue, which we’re shooting with a lot of respect. " Following the announcement of the 𝐕𝐨𝐧 𝐅𝐨𝐜𝐤 series backed by the trio of Baltic public broadcasters, we are now excited to share the news about another Council of Europe 𝐏𝐢𝐥𝐨𝐭 𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞 𝐟𝐨𝐫 𝐒𝐞𝐫𝐢𝐞𝐬 𝐂𝐨-𝐏𝐫𝐨𝐝𝐮𝐜𝐭𝐢𝐨𝐧𝐬 supported series, 𝐋𝐮𝐦𝐞 🇵🇹 & 🇪🇸 , highlighting two exciting co-production partnerships in Europe’s TV scene: one between ZDF and the Spanish public broadcasters, and another between Portugal and Spain, with a particular focus on Galicia. #seriescoproduction #culturaldiversity

🚨 It is impossible to compete with Hollywood without a strong, independent and underground creative culture. Let me explain. When you see Hollywood spending hundreds of millions of dollars funding movies and TV shows, the knee-jerk reaction is to say, "We need to have that much money to compete." This is the trap Hollywood wants competitors to fall into. It's why Netflix spends billions a month on content, even if it is not good. Because it's essentially a "fist" shaking contest as a means to distract you and discourage you from ever thinking you can compete with them in a fair fight. It's a true David and Goliath situation here. But the truth is that having unlimited war chests is not the solution. It's been shown in history, time after time, with almost the same story for every major entertainment brand. Record Labels starting in garages. Indie filmmakers fleeing Hollywood. Cable TV brands like MTV, Food Network, etc. started with barely any money or resources. It is a demonstrable fact that cultural media institutions do not require the amount of funding and investment that most people believe. We've been trying to play the money game, and it hasn't worked because we have neglected independent filmmakers and building something counter cultural that is sustainable, repeatable and scalable. This is what the underground creative culture produces. Most people snobbishly reject the idea of indie culture because it's not as glamorous and doesn't get you invited to the right parties. But anyone who is actually, legitimately serious about changing the world with media and entertainment needs to understand that it always starts here. If you don't believe me, hop on a call with me, and I will walk you through television and film industry history and show you how it's demonstrably true.

Everyone’s buzzing about The Bear’s stellar performances and the long list of Emmy nominations - (Also, a quick shoutout to Shogun. Hell of a show!). But beyond the acting, what really got to me was the sound design. Especially in Season 3’s premiere. That entire episode was layered with audio that felt real - a sonic masterpiece, in my humble opinion. It was a bold statement on the power of sound design and background score to drive narrative and emotion. The way the audio ebbed and flowed, mirroring the chaos and intensity of the kitchen and the characters, was nothing short of brilliant. It was a perfect marriage of image and sound, creating an immersive experience that pulled you deep into the heart of the story. We don’t usually credit the impact of audio on narrative and storytelling, unless it’s Hans Zimmer. It’s something that most storytellers forget - the inflection of our words and the effect it can have on people. I’ve had people read my scripts and hear them – The difference in their reactions is clear. So I look forward to the next season and more anxiety riddled sound-design. Agree? #TheBear #sounddesign #backgroundscore #audiovisual #masterclass #storytelling