The walls between mediums are crumbling. Should a YouTube series like Hot Ones be eligible for an Emmy? If your answer is "No, because it's not television," you're clinging to an antiquated way of thinking. The media industry is currently organized around mediums. This is because, historically, it was expensive and difficult to create and distribute content to a mass audience. As a result, people and organizations specialized: There are television companies and film studios and radio broadcasters and publishers. But it is no longer expensive and difficult to create and distribute content. So it no longer makes sense to organize the industry around mediums. The audience is interested in topics, not mediums. For example, I follow politics, so I consume Meet The Press every single week. But I haven't watched it on television in 15 years. I just say, "Alexa, play 'Meet the Press'" and listen to the audio. The audience does not care whether something technically qualifies as a "TV show" or a "podcast" or a "video." Show me a company that's quibbling over whether Spotify counts as "radio" or Mr. Beast counts as "television," and I'll show you a company that isn't prepared for the future. https://lnkd.in/gY5ET37m #mediaindustry
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Picture this, you’re watching the first season of a new TV series. You like it but it falls off your radar for one reason or another. Fast forward a few years and now they are hosting a Season 4 premiere tomorrow! You don’t have time to catch up in a night, but really want to see how the story’s developed. The decision to watch or not to watch! Barriers of entry are often talked about, but equally important are “barriers of re-entry”; obstacles created after interacting with a product previously. In the scenario above, a barrier of re-entry might be the importance of a spoiler-free experience, the time required to catch-up or even a plot direction that may not have resonated. It’s important to consider these barriers of re-entry, and combat them where you can. For example, making an official podcast to review what a viewer's missed can let them catch up on that TV show on a drive to work. Or if a viewer can rejoin a show without being spoiled, then expressing this with the right messaging and campaign. Barriers of re-entry apply to far more than just TV. While also tied to entertainment, subscriptions are a great example of the wide-reaching effects. Understanding why someone leaves a subscription, and how to get customers back on board with the right value offering. Barriers of re-entry are everywhere, and sometimes stronger than initial barriers of entry. It’s up to us as #marketers to determine what is at the core of these barriers and how to best reduce them.
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Today, Julie Eckersley and I release a Manifesto into the world that proposes a new way of doing TV! “Freestyle Television” is a new approach to creating high quality, low budget television. We have spent months consulting with screen execs, producers, commissioners, funding bodies, guild members, et al, crafting a free downloadable pack for anyone to access. It’s an offering to the Australian screen industry, a provocation, and a starting point for us to find principles and strategies to meet the challenges of a new screen industry marketplace; one filled with new tech, new audience needs/wants, and new possible ways to tell screen stories. Why the name “Freestyle”? Because it’s agile, lean, and is able to adjust to the shifting demands that face us as we move into the uncertain future. The Manifesto provides practical advice for every stage of production, with guidelines, finance strategies, and case studies from industry leaders. It champions the idea that great stories don’t need big names or huge budgets — audiences, especially under 40, value authenticity, engagement, and community. This is a call to adapt, rethink our strategies, and align with the future. It’s a living resource, open for discussion. Download it for free below and share your thoughts — let’s shape the future together!! READ IT HERE: https://lnkd.in/gj5eVqD3 ––––––––––––– Thank you to the industry professionals who have read this document in advance and provided invaluable notes. Special thanks to: Neil McGregor for the use of his amazing Lauchpad platform. Josh Butt for creating a companion podcast. Natalie Lynch for leading the way in the role of the Community Manager for TV. #FreestyleTV #ExpandingMedia #FutureVision
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Are you into TV shows? This channel, Sweaty Clam, earns $16,000 in 28 days, breaking down fan theories and episodes for major shows like The Simpsons. 📺 3.5 million views monthly 🤑 RPM: $8 🗓️ 4-5 videos per month Why It Works: - Fan theories and episode breakdowns pull in devoted viewers - High-quality footage with entertaining narration - Long videos for maximum ad revenue Why This Niche Wins: TV content has loyal fanbases and serious engagement potential. With the right approach, it’s a huge income stream for the right creator. 👉 Want to launch your own profitable YouTube channel? DM me to start today!
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Well written, mixed and performed audio description can enhance a project!
Access Services Manager at Channel 4 | Accessibility & Audio Description expert | BSL Level 2
"On X, formerly Twitter, users noted how enjoyable it is to watch Bridgerton season 3's carriage scene with the audio description turned on, and Netflix responded by posting the scene in question with its steamy audio description." Thanks for making me aware of this trend, Nefertiti Matos Olivares! I always have mixed feelings about these viral moments - yes, fantastic that Netflix's excellent #AudioDescription is serving more non-blind viewers than usual (and providing entertainment). But it feels a missed opportunity for education when the write-ups don't explain what the service is, or hear the perspective of some of its intended audience. idc - International Digital Centre Liz Gutman Eric Wickstrom #AccessServices #streaming #media #DescribeEverything #DescribeAllTheButts
Bridgerton Viewers Discover New Way To Watch Carriage Scene (& Now Netflix Is Encouraging It)
screenrant.com
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For those of you who loved this show as much as I did - here's a fantastic article celebrating it, as well as showing how its legacy is still relevant today. It's a high bar to live up to, but one (in my opinion) we should all aspire to! For those with not the time or the will to read a long article - I've summarised the main points for you here. You're welcome ;) 🌟 Reflecting on the Legacy of “The Wire” 🌟 As the TV industry increasingly focuses on franchises and mainstream dramas, it’s fascinating to look back at a groundbreaking series like HBO’s “The Wire.” Despite modest viewership during its initial run, “The Wire” has become an iconic show, celebrated for its deep exploration of social issues and its authentic portrayal of Baltimore. 📝 A Blueprint for Modern TV David Simon’s vision transformed TV drama, presenting episodes as “chapters” and seasons as “novels,” with each tackling different societal problems. This approach set a new standard for storytelling in the industry. 🎬 Cultural Impact From its realistic depiction of police work and the drug trade to its diverse and complex characters, “The Wire” pushed boundaries and has had a lasting influence on both viewers and creators worldwide. 📉 Value Beyond Numbers Although quantifying its exact value to HBO is challenging, the show’s legacy in shaping the golden age of TV drama is undeniable. “The Wire” reminds us that impactful storytelling can transcend commercial metrics, leaving a timeless mark on culture. Let’s celebrate the shows that dare to be different and challenge the status quo. Here’s to more innovative and courageous storytelling in the future! #TVDrama #TheWire #HBO #Storytelling #CulturalImpact #TelevisionHistory https://lnkd.in/gJydvCkj
TBI Weekly: Why 'The Wire's success matters now more than ever - TBI Vision
tbivision.com
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Helping Screenwriters Sell Scripts, Get Repped, and Build Careers in 6 Weeks | DM for High-Ticket Mentorship
Ever wondered why your favorite TV show got cancelled? 📺🚫 TV shows get the axe 🪓 for a mix of reasons, often leaving fans confused and disappointed. Here’s a peek behind the curtain: 1. Low Ratings: Ratings are the lifeblood of a TV show. If a show can’t pull in viewers, it’s hard for networks to justify keeping it on the air. After all, fewer eyeballs mean less ad revenue. ✨ 2. High Production Costs: Even a show with a loyal fan base might face cancellation if the production costs soar. Stunning visual effects, high-profile actors, and exotic locations are incredible (and pricey). Sometimes, the cost simply outweighs the benefit. ✨ 3. Branding Shifts: Networks often reevaluate their lineup and overall direction. A change in branding or strategy can push a show, no matter how beloved, out of the spotlight. It’s not always about performance — sometimes it’s about fit. ✨ So, while the cancellation of your favorite series can feel personal, it’s usually a complex decision driven by a balance of viewership, costs, and brand alignment. Next time you’re mourning a cancelled show, remember that it’s part of the ever-evolving (and unpredictable) world of television. What cancelled shows do you still miss? Sound off in the comments. 🗣️✅ #screenwriting #tvwriting #tvshows
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🗣 Say it louder for the people in the back: You can never take your audience for granted. $100B company? $2T company? You still have to earn listener attention on every. Single. Ad. Strategist Supreme Mark Pollard, spells it out to Stew Redwine in the season premiere of Ad Infinitum. If you have just 53 seconds, see what you need to do to make every audio ad land and what happens when Apple and Verizon bore their audiences. -- #OxfordRoad #AudioAdvertising #Strategy #Growth #Podcast #Advertising #Performance #Audio #Radio #AudienceEngagement #Tips #Marketing
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This week's announcement of The Bear's third season drawing 5.4M viewers - a Hulu premiere record! - should've put the weekly vs. full season release argument to bed. But... as a fan and television consumer, I need to pile on the fan argument for weekly installments despite the fact that the show had previously released all episodes at once. While periodic releases run the risk of losing audience over time, I'd argue that the PR and publicity push is greater if you can stretch it over several months. Fans will watch as soon as they can and it generates weekly analyses, conversations, social feed flooding memes.... it's worked for decades (except the social feed part) and while a big splash on a Netflix-style drop owns the conversation now, fans like myself have to avoid reading coverage because I don't have time to watch ALL of season 3 this week. Viewers want content on-demand but when FOMO or spoilers that reveal a reality show's winner before you have a chance to catch up are added to the mix, you strip away that convenience of "watch anytime" and are forcing people back into appointment television. That, I think is a main cause for the contention.
If ‘The Bear’ Binge Drops Are Working, Why Are They So Contentious?
https://www.indiewire.com
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Such insightful comment. It is so VITAL for non-blind audiences, who I’m so aware would be well served by good Audio-description, as well as the blind and partially-blind audiences that they are ENTIRELY VITAL for) to be aware of the points made in Jonathan’s comment. And this is also what good Audio-Description does for us… allows us to fully enjoy TV, film and other events by rendring what we can’t see, making it tangible to our minds-eye so that we can be fully includedd :) 💜👩🦯🦻⚡️✨ 👏👏👏 I’ve been posting on Facebook, in detail about how I’m so happy that Access (bothe online and in physical, real-life spaces) is improving at a pace for us… So, I took the trouble to explain in my post that “stickers” now seem to be accessible to “Voiceover,” the screen-reader on my iPhone, in the way that they weren’t previously, whilst emojis have been well-described by the dulcet tones of Serena (my personally preferred voice of Voiceover, at 55 per cent speaking rate, my preferred rate :) ). For a good while. So I’m included in offerings that utilise this pictorial short-hand as much as the rest of you sighted peeps! (Grins winningly at not being excluded from the social media party! :) ) (Please excuse any typos or mispellings as I’m “severely sight impaired and typing on a Braille keyboard, which translates the Braille code to “sighted text” for non-blind people. I do this by knowing which of the 6 tactile Braille buttons and 2 control tactile buttons I’ve depressed, together with “belt and braces” audio-feedback from Serena! :) )
Access Services Manager at Channel 4 | Accessibility & Audio Description expert | BSL Level 2
"On X, formerly Twitter, users noted how enjoyable it is to watch Bridgerton season 3's carriage scene with the audio description turned on, and Netflix responded by posting the scene in question with its steamy audio description." Thanks for making me aware of this trend, Nefertiti Matos Olivares! I always have mixed feelings about these viral moments - yes, fantastic that Netflix's excellent #AudioDescription is serving more non-blind viewers than usual (and providing entertainment). But it feels a missed opportunity for education when the write-ups don't explain what the service is, or hear the perspective of some of its intended audience. idc - International Digital Centre Liz Gutman Eric Wickstrom #AccessServices #streaming #media #DescribeEverything #DescribeAllTheButts
Bridgerton Viewers Discover New Way To Watch Carriage Scene (& Now Netflix Is Encouraging It)
screenrant.com
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Video Editor | Filmmaker | Writer. Creating compelling marketing videos and engaging copy to help entrepreneurs elevate their brand, attract customers, and boost revenue. Co-Founder at Wakacast.
Tips on producing a live TV show from a pro.
Transforming Brands with Strategic Content and PR Solutions | Expert Media Strategist and Television Programming Specialist for Results-Driven Growth.
Producing a live TV show is both an art and a science—especially when it’s a daily broadcast. The pressure to deliver timely, engaging, and seamless content can be immense. Here are five essential tips to help streamline the production process and make life as a producer a bit easier: • Securing the Right Guest: Your guest choice hinges on the show's theme and the specific topic of the day. Morning shows, in particular, often focus on current affairs, from headline news to trending social media stories. Whether it's a politician's soundbite or a celebrity's faux pas, it's crucial to find an expert who is not only knowledgeable but also camera-friendly and relatable to your audience. • Defining Your Angle: Every story has multiple facets. Decide on the angle you want your guest to explore and communicate this clearly during the briefing. Engage in a conversation with them—after all, they are the experts. They might provide insider information or recent developments that could enrich the segment. This clarity benefits everyone involved: the anchor, the guest, the producer, and most importantly, the audience. • Always Have a Backup Plan: Live TV is unpredictable. Guests may arrive late, or technical glitches can occur. Prepare fillers to act as a temporary solution while sorting out the issue. In some cases, you might even need to have a backup guest on standby. • Optimize Lower Thirds, Name Tags, and Soundbites: To keep your segment dynamic, vary your lower thirds by rephrasing the topic in different ways throughout the segment. Ensure that your guest’s name tag appears and stays on screen for at least 10 seconds, repeating it intermittently. Additionally, highlight compelling soundbites from your guest's analysis in the lower thirds to engage your audience further. • Stock Up on B-Roll and Images: Visuals are key in maintaining audience interest during a discussion. Ensure you have enough B-roll and relevant images to use throughout the conversation, enhancing the overall viewer experience. Producing a live show may be demanding, but with the right strategies in place, it can also be incredibly rewarding. #LiveTVProduction #BroadcastingTips #MediaInsights #DailyShow #TVProducerLife
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VP of Digital Products & Strategy | Leading AI, Podcasting, Data Analytics & Software Development | Driving Media Innovation
7moThe lines have been blurring for 20+ years. The days of movies, tv, newspapers and radio being defined by how they are distributed were antiquated the day we started putting media on the internet. We need new definitions that are based on the format and purpose of the content and throw how it was distributed/consumed out the window.