Douglas Montgomery

From the Latest FilmLA Report • Scripted TV production in Los Angeles dropped 99% in Q3 2023 compared to 2022. • FilmLA calls for a significant expansion of California’s $330 million production incentive due to a 20% drop in local filming. • Other jurisdictions like New York, Ontario, Georgia, and the U.K. offer more competitive, uncapped or larger subsidies, putting California at a disadvantage. • Strikes in 2023 and a decline in Peak TV also contributed to a production slowdown. • Global production declines occurred, with Georgia and the U.K. also seeing reduced TV releases. • California temporarily boosted its incentives in 2021, but ongoing state budget deficits limit further expansions. • FilmLA warns California must act to support its entertainment industry or face continued market share losses. FilmLA Seeks 'Vast Expansion' of California Tax Credit (variety.com) https://lnkd.in/gps_6c9A

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Why I still root for my former employer Live Nation Entertainment As of September 2024, Live Nation Entertainment holds a market valuation of approximately $24.63 billion. The company continues to lead the global live entertainment industry, securing its dominant position in the market despite recent fluctuations. This valuation marks a solid recovery from 2022 when Live Nation experienced a significant dip in its market cap, which dropped to $13.30 billion after the pandemic caused disruptions in live events. However, the company has since bounced back, showing a year-over-year increase of about 27% in 2023 and continuing its upward trend. Live Nation's competitors, such as AEG Presents and smaller regional promoters, struggle to match its global scale and resources. Live Nation's vertical integration—from ticketing via Ticketmaster to venue operations—allows it to capture more value from live events compared to its rivals. Additionally, the company has seen a 34% increase in stock price over the last 52 weeks, reflecting investors' confidence in the sustained demand for live entertainment post-pandemic. Financially, Live Nation reported revenue of $23.81 billion in the last 12 months, with a net income of $255.69 million. Its gross profit stands at $5.75 billion, demonstrating a 24% gross margin. However, its debt remains a concern, with total liabilities of $19.9 billion slightly outstripping assets valued at $20.5 billion. This reflects a high debt-to-equity ratio, though the company's cash flow and profitability indicate it is well-positioned to manage its obligations as the live events industry continues to grow. While Live Nation remains the industry leader, it faces ongoing scrutiny and competition, particularly as the regulatory environment around ticketing practices tightens. Nevertheless, the company's strong market presence, bolstered by key acquisitions and a robust pipeline of major tours and festivals, positions it to maintain its competitive edge moving forward.

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this could start a trend

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“…Today (August 1 ), the company published a detailed explanation of HYBE 2.0, which it calls its new “strategic direction and business plan”. “In a letter to shareholders today, HYBE announced that “to ensure the competitiveness of our business portfolio in the medium- to long-term, we have decided to implement HYBE 2.0, a strategy that includes both business structure and governance transformation”. As part of the new HYBE 2.0 structure, it will launch a new division called HYBE MUSIC GROUP APAC, which oversees all of the company’s music label businesses based in Korea and Japan. HYBE has appointed Young Jae Shin as President of HYBE MUSIC GROUP APAC, effective, today. According to HYBE, Shin, who currently serves as President of BIGHIT MUSIC, “will advance the company’s multi-label system and ensure that HYBE’s music business is driven by a deeper understanding of our artists and fans”. “…In the US, the company says that HYBE AMERICA will launch a new label services business “that integrates the traditional management business in the US with HYBE’s expertise in operating online and offline performances, as well as distribution, promotion, and advertisement of albums”. HYBE says that this new service will provide a “comprehensive business model to support the artists’ growth beyond recording or management contracts”. The company told its shareholders today that it “identified a growing demand for change in the traditional business structure in the US market due to its fragmentation, complex contractual relationships, and simplified care for individual artists at larger labels”. Read the full article for more: #HYBE #KPop #Korea #Japan #USA #LatinAmerica #Artists #Talent #Weverse #Fandom #Fans #BTS #RecordingLabels #Global #Genres #JPop #Latin #LatinMusic #Technology #Tech #AI #ArtificialIntelligence #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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ATV’s series “Wounded Heart” (“Kalp Yarası”) has enjoyed notable success in Russia. The series has been well-received for its engaging storyline, strong performances, and dramatic twists. It has gained a significant viewership across Russian platforms such as OKKO, Wink, and Tricolor Film and TV, contributing to its popularity.  The series’s mix of romance, drama, and intrigue has resonated with Russian audiences, leading to positive reviews and a strong fan base. The combination of a compelling narrative and relatable themes of family and revenge has helped the series maintain its appeal in the competitive landscape of international TV dramas. Our next markets: World Content Market - Moscow Autumn: 26-28 November 2024  World Content Market - Moscow Spring: 28-30 May 2025 World Content Market - Almaty: 4-5 March 2025 #worldcontentmarket #televisionmarket #digitalcontent #content #b2b #televisiondistribution #TVindustry #TVbroadcasting #Television #Contentindustry #TVcontent #TVseries #Contentdistribution #Contentproduction

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Revolutionizing Hollywood: Iconic Arts' Silicon Valley Approach Iconic Arts represents a paradigm shift in how Hollywood can operate. By combining the creativity of traditional studios with the innovative, tech-driven methodologies of Silicon Valley, we are paving the way for a more efficient, data-informed and audience-centric model of IP development, production and distribution. Historically, the entertainment industry has been dominated by a few major studios, each with the financial muscle to fund massive productions and control extensive distribution networks. This model, however, demands vast amounts of capital upfront and carries significant risk. Many companies, despite their ambitious visions and great leadership, have found it challenging to sustain operations without substantial financial backing, often leading to their downfall. Iconic Arts is changing the game by adopting principles and strategies applied in Silicon Valley. Here's a few ways we are doing that: Proprietary Tools and Technology: Led by our brilliant CTO Omar Abdelwahed, Iconic Arts develops tools that streamline the entire IP lifecycle, reducing costs and increasing efficiency across gaming, film/TV and merchandising. Data-Driven Decisions: Leveraging big data and analytics, Iconic Arts aligns IP closely with audience preferences and market trends, enhancing success rates while maintaining a creative-first approach. Agile Production Methods: Inspired by agile software development, Iconic Arts uses flexible development and production methods for rapid iteration and real-time feedback, ensuring the final product resonates with audiences. Digital Distribution Platforms: By utilizing digital platforms, Iconic Arts can bypass traditional gatekeepers, directly reaching audiences and democratizing content creation and distribution through UGC. Collaborative Culture: Partnering with a diverse range of brands, creatives and technologists fosters innovation and ecosystem cross-pollination across transmedia. We're just getting started, but our innovative approach we believe is the blueprint for the next-generation Hollywood studio, overcoming financial hurdles and setting a new standard for the entertainment industry.

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“Warner Music Group has sent a letter to tech companies declaring that its content can only be used to train AI with the music company’s permission. According to Warner’s letter, which can be read in full here, “All parties must obtain an express license from WMG to use… any creative works owned or controlled by WMG or to link to or ingest such creative works in connection with the creation of datasets, as inputs for any machine learning or AI technologies, or to train or develop any machine learning or AI technologies (including by automated means).” Warner’s move indicates that a common strategy could be blossoming amongst the major music companies in their approach to AI, after Sony Music Group sent a letter to some 700 AI developers and digital service providers (DSPs) in May. Sony notified those companies that it is officially “opting out” of having its proprietary content used in the training of artificial intelligence models.” Read the full article for more: #AI #ArtificialIntelligence #WMG #WarnerMusicGroup #Sony #DSPs #NMPA #EU #EuropeanUnion #SonyMusicEntertainment #Legal #IP #IntelectualProperty #Copyright #CopyrightLaw #CopyrightInfrigement #DerechoDeAutor #DroitdAuteur #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Songs #Composers #Songwriters #Artists #Suno #Udio #SoundRecordings #Tech #Technology #GenerativeAi #GeAi

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Great read on the concept and practical examples of "Synth.AI" or synthesizing information into AI workflows. As we move forward with building experiences and solutions on top of these LLM's the concept of synthesizing information to feed into LLM's for robust outputs that can be immediately actioned is game changing #AI #GenAI #Innovate https://lnkd.in/g_ttCnu8

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In 2011, both Warner Music Group (WMG) and Universal Music Group (UMG) began transformative journeys under new leadership. Len Blavatnik took ownership of WMG, while Sir Lucian Grainge took the helm at UMG. Each pursued distinct strategies that reshaped their financial trajectories. Under Blavatnik, WMG focused on boosting its presence in digital streaming, making targeted acquisitions like Parlophone, and expanding its catalog business. These efforts drove an 8.33% compound annual growth rate (CAGR) from 2011 to 2023, reaching $6 billion in revenue. Partnerships with streaming platforms and investments in emerging markets were key growth drivers. Meanwhile, Grainge’s UMG maintained industry leadership with a diversified revenue model, strengthening streaming revenue, acquiring major catalogs like Bob Dylan’s, and expanding globally. This approach led to a steady 6.17% CAGR, reaching $11.9 billion in revenue by 2023. **CAGR and Revenue Growth: Why They Matter** CAGR reflects a company’s ability to grow steadily over time, providing a clearer view of financial health. WMG’s higher 8.33% CAGR illustrates how a smaller company can rapidly expand through strategic moves, while UMG’s 6.17% CAGR reflects the steady growth of a larger market leader. Revenue growth and CAGR also impact stock prices, which influence budgets and workforce decisions. Higher growth can drive up stock prices, leading to more capital for investing in talent and new ventures. Lower growth, conversely, may limit financial flexibility. The comparison highlights how Blavatnik’s and Grainge’s leadership since 2011 yielded different paths to growth. WMG’s agility drove faster expansion, while UMG leveraged scale and diversification to maintain its industry dominance, navigating the rise of streaming and the decline of physical formats. For more on UMG + WMG, subscribe to my free newsletter, The Bag www.newbagdrops.com

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Paramount's Q1 earnings performance highlights both opportunities and challenges within the dynamic #streaming landscape. Most notably making recent headlines, the potential merger with Skydance suggests a strategic repositioning, aiming to strengthen Paramount's portfolio with high-quality content that could enhance its competitive stance in a crowded market and enhance Paramount's capabilities in producing and offering blockbuster films and acclaimed TV series on Paramount+. This move is a strategic effort to amplify Paramount's content offerings in both traditional and streaming formats, potentially improving its market share and appeal to a diverse viewer base. The recent introduction of international ad-tier subscriptions broadens Paramount's market reach outside of the U.S., attracting cost-conscious consumers with more accessible price points and tapping into new ad revenue streams. Introducing ad-tiers will capture global markets, reaching new demographics and analyzing consumer engagement habits. By integrating ads, Paramount will build valuable partnerships with advertisers looking to reach international audiences while increasing its global footprint. A key emphasis on providing original content and #livesports such as The Masters Tournament and National Women’s Soccer League are drivers of subscriber growth and consumer engagement on streaming platforms. The company's ability to enhance its original programming and secure compelling live sports rights will be decisive in its efforts to compete with industry giants and attract a global audience, ultimately improving its bottom line. Additionally, Bob Bakish, Paramount CEO, is stepping down today, signaling a pivot in Paramount’s overall corporate strategy and governance. New leadership may bring a different perspective on addressing the challenges of digital transformation in the #entertainment industry as we move away from traditional #cable and legacy media. This change could catalyze a more aggressive push into streaming and technology, and an increase in direct-to-consumer services, areas where Paramount must evolve to remain competitive with streaming giants like Netflix, Hulu and Prime Video & Amazon Studios. #LITrendingTopics #Q1Earnings #Streamers #Content #CordCutting https://lnkd.in/gt6_nFWN

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US content leads in Asia Pacific SVOD - This headline may seem promising for American producers at first, but a closer look reveals a significant shift in audience preferences. Reliable data analysis is crucial. US content no longer seems to matter much in Korea, Japan, and Indonesia, three nations with large middle-class populations and local content productions. At the same time, price sensitivity continues to impact local consumers' choice of streamers. But there are local streamers with bigger ambitions beginning to emerge. If Netflix is GM, will there be Toyota and Hyundai in the new entertainment future? https://lnkd.in/gJapu2AF

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Fascinating insights from the latest industry forecast across the media landscape: Box Office Dynamics: While box office revenues are expected to rise, this increase is likely to stem from higher ticket prices rather than more admissions. Analyst Spiegel suggests that by 2028, admissions will still fall short of pre-pandemic figures by 1.5 billion. Advertising Boom: Advertising revenues are seeing robust growth across various platforms, especially in digital media and gaming. By 2026, total advertising revenue is expected to reach $1 trillion, doubling by 2028 from 2020. This sector is anticipated to drive over half of the growth in the entertainment and media industries in the next five years. Streaming Saturation: The growth in streaming service subscriptions and revenues is beginning to plateau, prompting companies to pivot towards ad-driven revenue models and enhance cost efficiency. Gaming Industry Explosion: The gaming sector remains one of the fastest-growing segments, with total revenue reaching $227.6 billion in 2023, a 4.6% increase. PwC projects that gaming revenue will top $300 billion by 2027, nearly doubling since 2019. AI in Advertising: The use of AI in advertising is evolving, creating new opportunities for content creation and summary generation, particularly in sports media. The potential for AI to transform user experiences and open new revenue streams is vast and promising. As traditional media giants grapple with layoffs and losses, a new era in media emerges, brimming with opportunities for innovation, growth and creativity. 🎥📊                Explore the full report for more in-depth analysis:  https://lnkd.in/gV5qa5bi

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#AI #CopyrightInfringement #IP “Many AI models are trained using vast data sets, which often include #music, #images, #texts and other creative content taken from the internet. This material, created by artists and authors, is incorporated into AI systems without the consent or remuneration of the original creators, which represents a form of unauthorized use of their works. A blatant violation of copyright rules.” Read the post and go to the link for more: #Songwriters #MusicPublishing #MusicBusiness #Musica #Música #MusicIndustry #Musique #Musik #MusicBiz #MusicNews #Law #Copyright #DerechoDeAutor #DroitdAuteur #Songs #Creators #Artists #Authors #Rightholders #Content #CopyrightLaw #Legal #ArtificialIntelligence #PI #IntellectualProperty #PropiedadIntelectual #GenerativeAi #GeAi #InteligenciaArtificial #InteligenciaArtificialGenerativa #IntelligenceArtificielle #KünstlicheIntelligenz #Tech #Technology #propriétéintellectuelle #Data #TDM #DataMining #TextMining #ContentCreation #SustainableAI #AIandLaw #IFPI #ESCA #CISAC #GESAC #ICMP #IMPF #EPC #INFRRO #SAA

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Is Lionsgate Rewriting the Rule Book or About to Step into a Legal Minefield? Lionsgate’s partnership with Runway AI aims to revolutionize the entertainment industry by integrating AI into every step of the production process. The promise of faster production timelines and enhanced creativity has positioned the studio as a forward-thinking leader in innovation. However, this leap into AI-driven filmmaking isn’t without its risks. Runway AI is currently facing a major copyright lawsuit alongside Stability AI and Midjourney. Artists allege these AI firms used their works without permission to train their models, potentially violating intellectual property rights. At the heart of the lawsuit is a key question: Does using copyrighted material to train AI models constitute fair use, or is it an infringement? The outcome of this legal battle could have wide-reaching implications for the creative industries. While AI brings enormous potential to content creation, critics warn that relying on past works might limit original innovation and open the door to a wave of legal challenges. Lionsgate finds itself at a crossroads: Will AI be their ticket to the future, or could these legal hurdles force a rethinking of their approach? With their recent collaboration with 50 Cent on a new action-packed FAST channel and ambitious plans for AI integration, Lionsgate could reshape entertainment—or face serious obstacles that impact their creative journey. What do you think—is this the future of film, or a dangerous gamble with creativity and copyright? https://lnkd.in/eedYvYHK #AI #Copyright #Innovation #Lionsgate #Streaming #LegalBattles #Creativity

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