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Imagine the economic development, job creation, business stimulation, tourism, new educational career paths, and local pride that can be achieved by such a state-of-the-art film studio.

New Post: Shreveport Should Treat Its Local Businesses Like G-Unit - https://lnkd.in/gVdw_hxp city of Shreveport is planning to lease the 70,000 sq.ft Millennium Studios facility to Curtis “50 Cent” Jackson's G-Unit Film & Television, Inc. for $2,400 per year. As the property has been vacant for a decade, the potential agreement is appealing. However, concerns have been raised over the city giving valuable assets to private businesses based on speculative economic impact instead of supporting local small businesses. The comparison has been drawn to the city removing local businesses for overdue lease payments while offering substantial property to out-of-state companies at significantly low rates. On November 14, 2023, the city of Shreveport announced that it intended to enter into a cooperative endeavor agreement with entertainer and businessman, Curtis “50 Cent” Jackson, on a 30-year lease of a massive publicly owned property located at 300 Douglas Street in downtown Shreveport. According to the Millennium Studios website, the property, currently named Millennium Studios, is a 70,000 sq. ft. video production facility, featuring two sound stages, production offices, a construction mill, a special effects mill, and a world-class visual effects studio. It also features a sizable parking lot, detached acting studio, approximately 0.5 acres of outdoor green space, and tens of thousands of dollars’ worth of movable equipment that is also included in the proposed agreement. As compensation for the exclusive rights to access and use the property, the city has proposed that Curtis Jackson (G-Unit Film & Television, Inc.) pays an annual lease rate of $2,400 per year, or $200 per month. Considering the fact that Millennium Studios is a special-purpose facility that has remained vacant and largely unused for the better part of the past 10 years, the prospect of entering into such an agreement with a company helmed by a famed celebrity and business magnate is decidedly appealing. With several actively running television shows and an impressive list of projects in pre-production, G-Unit Films & Television, Inc. represents a potential suitor that is primed and poised for immediate and long-term use of the facilities. Although not included in the version of the ordinance and lease agreement documents presented to the Shreveport City Council by the mayor’s office, Mayor Arceneaux has also intimated that Curtis Jackson has expressed interest in the old Expo Hall (formerly StageWorks) facility located at 400 Clyde Fant Parkway. Played correctly, Shreveport could in one fell swoop inject new life and economic activity into two capital assets long underutilized. The matter is up for City Council vote and approval on December 12, 2023. As attractive as such an opportunity is, Shreveport should do itself a favor by performin

A new star is emerging on the commercial real estate scene. The up-and-coming headliner? Film and sound production studios. Soaring demand for content unleashed by the streaming wars is the big trend putting these specialized properties in the investment and development spotlight.

How can you increase the lifespan of retail real estate such as movie theaters? Today's article from the WSJ (via MSN) provides a fascinating insight into movie theaters, and the steps landlords and tenants are taking to increase foot traffic and therefore revenue. Options range from upgrading existing theaters with new recliners and screen, to repurposing the space into other uses such as Fun Entertainment Centers. Pennoni has supported multiple architects and owners across the country on theater upgrade and adaptive re-use projects. Reach out to Julie Lutsky PE, Ross Stuart, PE, SE, or myself if you have any structural questions about you can improve your real estate!

I'll continue to say it. Every company will become a media company. I don't care if you're selling tech, ketchup, dog leashes, or pictures of Abraham Lincoln (I'd buy one). You will need to think of how you're going to use video media to get your message out. And not just one commercial, TikTok ad, or Super Bowl spot. You need a constant drip strategy. Does that mean you need to spend BIG bucks like Best Buy? NO. The big guys are not at an extreme advantage. In fact, many are at a disadvantage because of their own bureaucracy, processes and slow turn around. That's not to mention viewers social platforms and YouTube often trust the local underdog over the institutional giants. Those problems can be overcome, but they're problems a lot of us don't have. TL;DR = Your company is also a media company. Embrace it. ---- Am I wrong?

A new star is emerging on the commercial real estate scene. The up-and-coming headliner? Film and sound production studios. Soaring demand for content unleashed by the streaming wars is the big trend putting these specialized properties in the investment and development spotlight.

Best Buy Studios! Love this promo piece and all the details in the design of their new studio!! Can I just say.... *swoon* and yes, I'm also a tech nerd... #bestbuystudio #photoandvideoproduction #investinyourbrand #contentcreation #bestbuy #marketing101 #howitlooks

Unlike fungible retail space where landlords have little to no repurposing costs and can usually find replacement tenants, theater space is really only good for movies and tenants have the upper hand in negotiating rent concessions. #restructuring #bankruptcy #chapter11 #commercialrealestate

For The Wall Street Journal,  Itzel Luna & Robbie Whelan provide world class coverage for the biggest box office weekend of the year so far -  #DeadpoolandWolverine” achieved by far the best opening weekend of the year so far, according to box office tracker Comscore, Inc.. The second-best opening this year went to “Inside Out 2,” from Disney’s Pixar studio, which opened to $154.2 domestically and has so far earned more than $1.5 billion at the global box office, making it the biggest animated movie of all time. The two Disney-owned titles are the only movies so far this year to open to more than $100 million in their first weekend. The film’s success was boosted by the consistency in box office sales for both the Deadpool franchise and Wolverine’s character, who stars in three X-Men films and appeared in nine of them, Dergarabedian Comscore Movies said. The first two movies in the Deadpool series have grossed over $1.5 billion globally to date, and the Wolverine trilogy has brought in just over $1.4 billion globally.  https://lnkd.in/gEBy6FqT

As the Oscars are announced, another Studio’s future hangs in the balance.    A timely read from former studio Chairman Bill Mechanic.    After witnessing 20th Century Fox being acquired by Disney, the potential demise of another studio is disheartening. It's more than just another sign of the times – many of the wounds are self-inflicted.   Successful Studios balanced art and business, as market makers and gatekeepers they were cultural tastemakers. “Content was King” and “Distribution was Emperor”.   Historical Hollywood had to manage through many transitions and disruptions that generally added value – the industry evolved through multiple convergences rather than single disruptive events. This is different.     Firstly, the new studio owners and/or tech companies view media very differently based on their strategic priorities, seeking to feed their pipelines, platforms, or technology and avoid sharing the profits. They rely on data and analytics vs. creative intuition and experience.   "Traditional" creative executives were replaced by "new media" execs who used algorithms and data instead of creative instinct honed by experience. The Warner/AT&T example is a spectacular instance of destructive disruption that destabilized one of the stronger studios and the entire marketplace. It’s a recipe for mediocrity.   Experience, passion, innovation and creative vision still drive the media marketplace, and those who know how to use data should make better decisions.   Secondly, with the shuttering of most indie labels within studios and the shift to a blockbuster only approach, mid-tier projects got squeezed out, increasing the overall studio risk. If “best practices” were followed, few of them lost money, and many brought in healthy multiples. It was a solid segment.   Additionally, the collapsing of windows (“sequential distribution”) destroyed more value than it created. Its difficult to justify a premium theatrical experience for $15 when you have a competing view within a few weeks with a value of less than 50 cents. If a movie underperformed at the box office, that revenue could be recovered in successive windows. No more.   Finally, in this age of social media, there is a fundamental disconnect between studio taste makers and audiences. The “flyover state” audiences are ignored, resulting in new innovative companies stepping in to fill the gap. “Focusing on making AND marketing/distributing movies in the cluttered entertainment world is the only business for a stand-alone studio. Controlling costs, being nimble, being movie-centric would make a studio that talent and audiences would celebrate”   “What works is good movies”. Great filmmakers will push the envelope, bring us great stories, create sensory spectacles, using every available technology to create an immersive collective experience.   Hopefully Paramount survives and thrives; with a history and library to celebrate - but the machine must evolve. It’s not easy but I believe.