What we see on TV shapes our understanding of the world around us and influences the choices we make. That's why Rare partnered with Reality of Change to assemble Hollywood studios and production companies in an advisory committee to address the climate crisis. Led by Reality of Change founder Cyle Zezo and Rare Entertainment Lab senior director Ellis Watamanuk, this partnership supports the people working on unscripted television — like reality and cooking shows — to address climate change and sustainability on screen and behind-the-scenes. In The Hollywood Reporter's special Sustainability Issue, we got to share the 30 production companies that make up our advisory committee, helping to chart the collective path forward for the industry. Our participants include 44 Blue Productions, Alfred Street Industries, APG Pictures, Back Roads Entertainment, Blind Nil, Boardwalk Pictures, Chicken Run Productions, Common Ground Studios, Critical Content, DAT's Entertainment, Intuitive Content, Lighthearted Entertainment, Inc., Magic Lemonade, Margot Station, MFP Inc, MGM Alternative, Evolution Media (an Amazon MGM Studios Company), Mission Control Media, Inc., MorningStar Entertainment, OBB Media, Scout Productions Inc., Sony Pictures Television's The Intellectual Property Corporation, Unger Media, Velvet Hammer Media (VHM), Village Roadshow Entertainment Group, Wrigley Media Group, and key executives formerly of Participant. Learn more from Mikey O'Connell in The Hollywood Reporter: https://lnkd.in/e6CyPVFU
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Participant Media, Studio Behind 'Green Book' and 'Spotlight,' Is Shutting Down. “I founded Participant with the mission of creating world-class content that inspires positive social change, prioritizing impact alongside commercial sustainability. Since then, the entertainment industry has seen revolutionary changes in how content is created, distributed and consumed.” - Jeffrey Skoll, Founder, Participant Not surprising, yet another wake-up call. The sharp decline in traditional media models underscores the fading appeal of old Hollywood and linear business models, which are clearly unsustainable. It’s no longer just about creating content—it’s about developing exceptional content that resonates universally, appealing to global audiences in a digital age where consumer habits are rapidly shifting. The Film and TV industries are navigating tumultuous waters marked by swift technological advancements, evolving consumer behaviors, and the relentless pursuit of innovation to engage fragmented audiences. We are witnessing the rise of digital streaming and ad-supported platforms, which are not survival tactics but strategic moves to tap into new revenue streams such as targeted, shoppable ads that enhance viewer engagement. These innovations cater to an audience that demands flexibility and diversity in content. As we navigate this transformative era, we must embrace new digital paradigms and community-centric approaches, with relentless innovation, to shape a future where entertainment is not only interactive and inclusive but impactful. We are more than mere participants in the media landscape; we are the architects of a new paradigm. Those who adapt are the ones that will not just survive but thrive. #MediaDisruption #FutureOfEntertainment #ContentRevolution #EntertainmentIndustry #NextGenMedia #CommunityBuilding https://lnkd.in/ebK_8kxs
Participant Shutting Down Operations After 20 Years: Film Studio Was Behind Oscar Winners ‘Spotlight,’ ‘Green Book’ (EXCLUSIVE)
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Ravi Ahuja has been liable for overseeing all manufacturing companies for Sony Pictures Television. Sony Group Corporation<!-- --> and <!-- -->Sony Pictures Entertainment<!-- --> (SPE) introduced on Tuesday that <!-- -->Ravi Ahuja<!-- --> can be promoted to President and CEO of SPE, efficient January 2, 2025. Ahuja, who presently serves as SPE’s Chairman of Global Television Studios and President and COO, will succeed <!-- -->Tony Vinciquerra<!-- -->, who will step down from his position as SPE CEO. Vinciquerra will proceed to function non-executive Chairman in an advisory capability till the top of December 2025.In his new position, Ahuja will report immediately to <!-- -->Kenichiro Yoshida<!-- -->, Chairman and CEO of Sony Group Corporation, and Hiroki Totoki, President, COO, and CFO of Sony Group Corporation. Who is Ravi Ahuja? Since becoming a member of SPE in 2021, Ahuja has been liable for overseeing all manufacturing companies for Sony Pictures Television (SPT) and the studio’s India enterprise as Chairman of Global Television Studios. Additionally, he has overseen SPE’s Mergers and Acquisitions (M&A) actions, together with the acquisitions of Industrial Media, Bad Wolf, and Pixomondo, in addition to the sale of GSN Games to Scopely.Prior to his tenure at SPE, Ahuja held numerous positions of rising accountability, together with President of Business Operations and CFO at Walt Disney Television, and CFO at Fox Networks Group and Virgin Entertainment Group, Inc.Kenichiro Yoshida, Chairman and CEO of Sony Group Corporation, praised Ahuja’s contributions, saying, “Since joining SPE in 2021, Ravi has been at the centre of Tony’s leadership team, navigating the unprecedented challenges of today’s media and entertainment environment and positioning SPE for further growth. Ravi brings with him years of experience from his time at some of the world’s most successful entertainment companies, and we look forward to working more closely with him in his new role as President and CEO of SPE.”During his tenure, which started in June 2017, Vinciquerra efficiently led SPE’s turnaround, reaching 5 consecutive years of rising revenue. This was achieved by strengthening SPE’s movie slate, reimagining its tv companies, and pursuing aggressive M&A in key development areas, such because the acquisition of Crunchyroll in 2021.
Ravi Ahuja named President and CEO of Sony Pictures Entertainment; to succeed Tony Vinciquerra
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Why The Entertainment Industry is Completely Starting Over https://ift.tt/Agx35Fa I was in the middle of a pitch on March 12, 2020, mid-sentence when an assistant walked into the room with a note. the exec stopped the pitch, and declared that we should all go home and that we would resume on a call sometime in the future. We never did. COVID wrecked Hollywood, and by the time things were supposed to return back to normal, the AMPTP tried to squeeze writers and actors into a bad deal. It didn't happen. The subsequent strike took us all the way to October 2023. That wasn't enough time to restart the industry. It was just enough time for everyone to have nice, productive chats. Now, as we enter the summer of 2024, it feels like the entire industry is figuring out how to completely restart. Those aren't my words. During a recent earnings call, Sony Pictures Entertainment CEO Tony Vinciquerra said, “We had to go from a pandemic where production was severely limited, to a strike, where there was no creative work being done for literally seven or eight months,” he continued, “It had to restart. And that's what you're seeing right now.” Let's dive in. Restarting Hollywood As a writer, I'm very nervous for what's coming in Hollywood. I moved here in 2012, and the lean years never felt as dire as the current months. Maybe it's because I have more at stake this time around, as I'm older and have a family, but the contraction felt is very real. We're seeing fewer scripted shows, fewer theatrical movies, and everyone is trying to pare down just how many people get a paycheck, to save on cost. Hollywood is trying to figure out three things... 1. How Many TV Shows Can We Sustain? At one point there were over 600 scripted shows on the air and streaming. After the peak TV bubble burst, streaming and network TV have been trying to figure out just how many shows would be sustainable. And also, how many networks can we sustain. Does everyone need a streaming app, can people afford them? What about bindles—would it be smarter to just completely recreate cable? How many can we put on the air and still make money? How many people do we have to employ? These are the real questions studios are asking, and htye have real impact on Hollywood. the amount of shows directly correlates not only to writers and crews being hired, but development executives as well. With less shows on the air, they don't need as many people to send to set or read the scripts or give the notes. I don't have any guesses as to how many scripted shows need to go every year. If you put a gun to my head, I'd say around 500, but that's totally a guess. As these streamers try for a more global audience, maybe it's more, or maybe it's less made by Hollywood, and more globally. Time will tell. 2. What Does Theatrical Mean Anymore? One of the hardest parts of this new normal for me, primarily as a feature writer, is that theatrical needs to be redefined. We're ...
Why The Entertainment Industry is Completely Starting Over https://ift.tt/Agx35Fa I was in the middle of a pitch on March 12, 2020, mid-sentence when an assistant walked into the room with a note. the exec stopped the pitch, and declared that we should all go home and that we would resume on a call sometime in the future. We never did. COVID wrecked Hollywood, and by the time things wer...
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As scripted content regains its prominence, the demand for unscripted, quick-turnaround programming is shrinking. But don’t freak out—reality TV isn’t going anywhere. The entertainment landscape is ever evolving, and we’re sure to see a surge in unscripted content again in the future (I mean, I need my 'The Challenge' fix!). However, as networks are tightening budgets and producers are increasingly looking to brands to co-fund productions. The days of networks fully bankrolling reality TV are fading, making brand partnerships more essential than ever. At BENlabs, we take pride in creating placements that not only fulfill brand marketing objectives but also help our content partners bring their creative visions to life. This evolving landscape is exciting, and we're proud to be part of a future where brand integration plays a key role in content creation. Our goal is to ensure both brands and content creators succeed in delivering entertainment that captivates audiences. #ProductPlacement #BrandPartnerships #EntertainmentTrends #ContentCreation #MarketingInnovation https://lnkd.in/d2XFKUDF
Reality TV’s Illusion: Why Hollywood Stopped Bankrolling Unscripted
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Taking a pause from my normal science world to chime in my two cents on my other goofy (Goofy?) passion: Disney 💜 Here is the thing, Walt Disney as a CEO wasn't a profit-oriented individual. He nearly tanked the company several times in the early days. He was interested in innovation and ideas for the sake of innovation and ideas. If an idea made a profit (which it did eventually), bonus. Think about it - Disney revolutionized animation for the sake of innovation in storytelling. Disney revolutionized the use of multiplane cameras and Super Technirama 70mm exhibition for the sake of visual innovation. Disney revolutionized the concept of theme parks, which were considered grungy small-fries business ventures in his day, for the sake of entertainment innovation and whole-family engagement in story. Disney's innovative global gold standard of customer service comes from their "keys" which give staff the role of "cast members" in a living story. Even the original concept of EPCOT, the Experimental Prototype City of Tomorrow, was envisioned as innovation in urban planning, and the monorail was innovation in mass transit. Crikey, even Disney Conservation was innovation in habitat preservation, education, and restoration. The magic of the Walt Disney originally came from focusing on innovation - creative ideas, the freedom to try and fail, the wonder of story, the allure of the unknown, the enchantment of something new. It can't come from catching up to play someone else's game.
Disney Working to Get Streaming Platforms on Technical Par With Netflix, Iger Says: ‘We Need to Be at Their Level’
https://variety.com
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Sorry to hear the news about Participant shutting down. For 20 years, they showed the power and responsibility of "impact storytelling" better than anyone. They inspired us at Able Channel to produce content that can positively impact lives. From Jeff Skoll "I founded Participant with the mission of creating world-class content that inspires positive social change, prioritizing impact alongside commercial sustainability. Since then, the entertainment industry has seen revolutionary changes in how content is created, distributed and consumed. We have achieved the highest levels of critical and commercial success. We have released 135 films and 5 series, won 21 Academy Awards, including 2 Best Pictures, 4 Best Documentaries and 2 Best International Features, won 18 Emmy Awards, earned more than $3.3 billion in global box office revenue and partnered with the greatest storytellers and changemakers of our time. Together, we have built a category-defining media pioneer with an iconic, globally recognized brand whose legacy will live on through our people, our stories and all who are inspired by them. am emboldened by the efforts of the next generation of storytellers and content creators who are building upon and reimagining this work. From philanthropists, to producers, to distributors, to social impact agencies, more and more individuals and organizations all over the world are recognizing and adopting impact models as core to their approaches. The ripple effects of Participant can be felt far and wide – what we have started together is just the beginning." We can only hope that Able can continue what Participant started. #impactinvesting #entertainment #healthcare #changeagents
Participant Shutting Down Operations After 20 Years: Film Studio Was Behind Oscar Winners ‘Spotlight,’ ‘Green Book’ (EXCLUSIVE)
https://variety.com
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In recent years, the entertainment industry has witnessed a seismic shift. Public theater attendance has declined significantly, reflecting a broader trend in how audiences consume content. The number of films being produced has also seen a marked decrease, as filmmakers navigate an evolving landscape dominated by digital platforms. Web series have become the new go-to for many viewers, offering binge-worthy content that caters to diverse tastes. However, this rise in digital content consumption has begun to erode the traditional appeal of films and theater. As audiences increasingly gravitate towards streaming platforms, the communal experience of watching a film in a theater is losing its charm. Technological advancements are changing the game at an unprecedented pace. With innovations in filming techniques and distribution channels, new forms of entertainment are emerging. As a result, many who have spent years in the industry may soon bid farewell to the traditional avenues of storytelling and performance. The future of entertainment is poised for a transformation that may leave many behind. It's crucial for artists, filmmakers, and audiences to adapt to these changes, ensuring that the essence of storytelling is not lost in the shuffle. A new era of entertainment is on the horizon, and it promises to redefine how we engage with art and narrative. The question remains: will we embrace this change or long for the past?
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CEO at Broadcast Management Group | Revolutionizing Managed Production, Enterprise Production, & Live Production Services
The entertainment industry is still feeling the ripple effects of last year’s writers' and actors' strikes, and the road to full recovery may extend well into 2025. These strikes not only brought production schedules to a halt, but they've also led to significant financial losses across the board. Studios have been forced to reassess their strategies, with many cutting back on marketing and other expenses. As a result, we’ve seen fewer grand movie premieres, cast interview shows, and large-scale activations than in previous years. Events that were once massive spectacles have been more modest in scale, reflecting the cautious optimism many companies are adopting as they’ve had to navigate these challenging times. At Broadcast Management Group, Inc., we’ve been fortunate to have a diversified business model that has kept us active across various sectors. From managed services to sports packaging and large-scale event productions, we’ve continued to bring value to our clients, no matter the challenge. Next up, we’re producing a movie premiere in New York City this Monday– a project we’re excited to bring to life. This premiere is not only a testament to the slow and steady comeback of the entertainment world but also a reflection of the industry’s adaptability. Seeing the gears of entertainment turning once again is encouraging, and it’s a reminder of the resilience this field has always shown. From my perspective, it’s clear that the industry will emerge stronger—redefined by the challenges we’ve all had to face. I’d love to hear your thoughts on this. Do you think the industry will fully bounce back by 2025, or might it take even longer? #LiveProduction #EntertainmentIndustry #MoviePremiere
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Legal expert, screenwriter, and creative professional with over 20 years' experience advising clients in financial transactions and entertainment law, with several film and TV projects in active development.
Today on Further&Better: the RTL Group is grappling with financial setbacks amid a softer advertising market, signalling broader industry economic pressures. At the same time, the sector is engaging with the future, as evidenced by Pact's nuanced approach to AI, balancing the potential benefits against the risks. Events like the Irish Film & Television Awards and the Thessaloniki Documentary Festival highlight documentaries' ongoing creative vitality and significant storytelling contributions. Key moves and launches, such as Joseph Cohen's new advisory firm in Asia and Juliette Binoche's role at the European Film Academy, showcase the industry's global and dynamic nature. Meanwhile, strategic hires and expansions into new content areas, like Prime Entertainment's foray into animation, reflect adaptive strategies to changing market demands. The industry's critical look at AI's impact, illustrated by the launch of "Gauntlet," underlines a commitment to maintaining human creativity at the heart of storytelling. Subscribe to our daily updates at the link below. Our subscribers include executives from companies including Netflix, France Televisions, Sky, ABC, Apple, Channel 4, ITV, A E Networks, CBC, TV2, SVT & ARTE.
TV, Film & Media Industry News Roundup, Friday 15 March 2024
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Sustainable Business and Innovation Expert helping clients build sustainable solutions
3moThis is great. We have been working on something similar here in Australia since 2018 which included partnerships between Government, Research agencies and production. Currently in production of season 3 of an unscripted lifestyle show about sustainable housing called Renovate or Rebuild (available on Hulu in the US) which integrates behavioural science to drive demand for more sustainable energy efficient homes. Here is a case study based on season 1 which has links to the follow up research measuring the impact of the show. Would be great to have an Aussie rep on the advisory committee to connect the learnings from this work - https://bluetribemedia.com/how-renovate-or-rebuild-is-transforming-sustainable-housing/