Rare’s Post

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

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 ...

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.

#Barbenheimer matters because the phenomenal success of "Barbie" and "Oppenheimer" reminds us of the unpredictable and fascinating interplay between digital culture and offline behavior. No studio marketing chief could have predicted the internet memes and cascading fandom for two dissimilar movies opening on the same day anymore than McDonald's could have predicted the whacky Grimace shake meme that took TikTok by storm. I'm not sure that I'm on the "People have returned to movie theaters!" bandwagon, but people will certainly return to theaters to watch a certain kind of movie. And when they do, digital memes find a purpose: drive offline behaviors. With Barbenheimer, the interplay between digital and offline has created something more combustible than a digital-only or analog-only phenomenon would have sparked. I agree with Paul Dergarabedian, who said, "If these two movies were opening on the same day on rival platforms on streaming, I don’t think the Barbenheimer phenomenon would have taken hold. It’s because of the cultural impact that movies in theaters have as opposed to streaming, which has a not any less significant, but a very different type of impact." Now New Hollywood has set its sights on another challenge: how to build a second wave of buzz when "Barbie" and "Oppenheimer" go to streaming eventually. Indeed the success of a theatrical release can fuel buzz for the eventual streaming premiere, as we have seen with movies such as "Black Panther: Wakanda Forever." How will New Hollywood ride the success of Barbenheimer with a second act on streaming? #LITrendingTopics #TheInsider #Digital #Movies #barbiethemovie #oppenheimermovie #Barbie #Oppenheimer #barbieheimer https://lnkd.in/gEt9Q7rf

📢 Hollywood in Crisis: Multiple Fronts, No Solutions 🎬📺 The entertainment industry is grappling with an unprecedented crisis as it faces a barrage of challenges from various directions. Unlike past disruptions, the movie and television business is now confronted with a dizzying array of problems, and viable solutions seem elusive. In a historic move, around 160,000 unionized actors went on strike, joining the 11,500 screenwriters who had already walked out earlier, marking the first simultaneous strike by actors and writers since 1960. The primary concerns revolve around inequitable pay for industry moguls and the uncertain future of fair compensation in a streaming-dominated landscape, including fears about the encroachment of artificial intelligence.💔🎭💻 Fran Drescher, former sitcom star and president of the actors' union, lamented the transformation of an industry that was once inclusive for all participants. She expressed how Hollywood has now become a "walled-in vacuum," further emphasizing the deep-seated issues at play. After a challenging period due to the pandemic, this year was expected to herald the resurgence of movie theaters .However, ticket sales in the United States and Canada have slumped by 21 percent. Despite occasional bright spots like "Spider-Man: Across the Spider-Verse," underperforming big-budget films such as "Indiana Jones and the Dial of Destiny," "Elemental," "The Flash," "Shazam! Fury of the Gods," "The Little Mermaid," and "Fast X" have eclipsed those gains. While a recent report by PwC predicts that the number of movie tickets sold globally may reach 7.2 billion in 2027, down from 7.9 billion in 2019, the overall trend signals a gradual decline. Television, on the other hand, faces an even bleaker future. PwC forecasts that the number of homes paying for cable or satellite television will drop to fewer than 50 million by 2027, down from the current 64 million and a significant decline from 100 million seven years ago. Traditional television's decline has led to stock-price stagnation, with industry giants like Disney, NBCUniversal, Paramount Global, and WarnerBros. Discovery experiencing substantial declines in their share values. In response, Disney's CEO, Robert A. Iger, has even considered the sale of their "noncore" channels, acknowledging the grim reality of traditional television's demise. The industry's fate is now largely controlled by tech companies like Amazon and Apple, which lack the deep understanding and investment in the entertainment business. Media veteran Barry Diller commented on the changing landscape, stating that these tech giants, while not pejorative, are simply detached from the realities of the industry. In the short term, there will be pain,” said Tara Kole, a founding partner of JSSK, an entertainment law firm that counts Emma Stone, Adam McKay and Halle Berry as clients. “A lot of pain.” #streaming #netflix #disneyplus #hulu #appletv #bingewatching #stockmarket

Brands: Looking to get your product placed in a TV show or in a movie? In this column, publicity expert Nancy Trent of Trent & Company, Inc. gives you the know-how and the resources to get your product in front of those people who make the decisions -- from producers and directors to writers and set designers. And you can do it for free in many cases! Check the post below to learn how! #productplacement #cpg #brands #marketing #ecrmrangeme

Breaking barriers at Skyhaus Media🚀 Our team achieved a groundbreaking milestone by editing and delivering our clients' content at lightning speed - right from the event venue itself. I’m super proud of our guys for holding everything down this weekend! #SkyhausMedia #Innovation #RealTimeEditing"

Asian and Pacific Islander consumers could generate billions of dollars in additional revenue—if the film and television industry can improve the representation and authenticity of API content. ... This report examines the entertainment industry through multiple lenses to identify the factors that could contribute to the underrepresentation of API professionals. Our analysis covers API participation in both on- and off-screen roles across film and television (see sidebar “About the report”). Why is greater API representation a source of opportunity for entertainment executives? Simply put, the industry is missing out on the chance to boost its bottom line by billions of dollars. The industry is in flux: streaming services are seeking new sources of revenue, and movie studios are weathering uneven box-office trends. Studios have an opportunity to cast a wider, more inclusive net to bring content to new audiences. API consumers are already particularly engaged on streaming platforms, and producing and distributing API content in these channels could translate to greater engagement and revenue for the industry. This report offers a set of ideas the industry could pursue to expand opportunities for API professionals in film and TV and create more authentic portrayals of API characters. We acknowledge there is no single solution—addressing representation and authenticity is nuanced, and talent casting relies on an ecosystem of stakeholders. However, we believe the steps in this report could also motivate API consumers to spend more on entertainment, creating a virtuous circle within the industry.