Am I Too Cynical? Reading List Fall 2024

By Rebecca Green

“The worst thing about not being in a relationship is when your job is to write about being in a relationship.” – Carrie Bradshaw 

I heard this line from Sex and the City as I was making coffee this morning, reruns playing in the background. It sang out to me because I often feel this way about writing for Dear Producer. As the business consolidation continues, my day-to-day work as a producer has slowed down exponentially. I have a completed film that premiered at Tribeca that is on the sales market looking for a distributor, another where the writer/director walked away from the project after four years of development and we’re starting fresh with a new filmmaker, and an unscripted series that doesn’t seem to fit in any of the buckets buyers have deemed most valuable such as true crime and social experiments. How do I write about producing when I don’t feel like a producer right now? 

One of the reasons  I still have cable is for the pleasure of networks like E! Playing SEX AND THE CITY reruns all morning or TBS playing THE BIG BANG all evening. I know STC is available on Max, but there is something special about turning on your TV and watching whatever episode is on at the moment, having no choice in the matter, no decision to make. Having cable in this cable cutting era often makes me feel old, but not as old as the 76th Emmys felt on Sunday night. Rather than look to the future, or even celebrate the present, we had to grin and bear it through a 25th anniversary celebration of THE WEST WING, 50th anniversary reunions for SATURDAY NIGHT LIVE and HAPPY DAYS and a Candice Bergen appearance to celebrate her show MURPHY BROWN, which premiered in 1998. I am 45 years of age and all of these reunions were too old even for me and had zero relevance to the new and next generation of television viewers. While watching, I kept asking myself, ‘who is this show for?’ Maybe Jon Stewart answered that question in his acceptance speech for THE DAILY SHOW when he said, “You have made an old man very happy.” 

In the SEX AND THE CITY episode this morning, Charlotte tells Carrie that maybe she’s grown too cynical when it comes to finding love. Have I grown too cynical about the entertainment business? I read a script last week that I loved so much. A heartwarming story about the human struggles of everyday people with a bit of romance in the air. The kind of movie I want to see and I know my friends and family would love. However, upon finishing the script, I immediately thought, ‘but who is going to finance this right now?’ There was a time when I would have said that and saw a challenge to take on, but now I see a dead end.  

I still watch award shows in the hopes of being inspired by a speech. Someone reminding me that the work I do has value, that good storytelling can impact others in a positive way. A speech reminding me that the creative collaboration we experience as filmmakers is truly special, unlike any other job I could do. However, these speeches are few and far between these days, as shout outs to agents, managers, and lawyers take precedence over personal stories, but every now and then we are given a boost. While I personally was not a fan of BABY REINDEER, thankfully it won enough awards for Richard Gadd to have time to say this: 

“I know the industry is in a slump right now. And I know that might force or put pressure on networks to tighten purse strings and broaden the slate, but I do believe no slump was ever broken without a willingness to take risks. I think if Baby Reindeer has proved anything, it’s that there’s no set formula to this. You don’t need big stars, IP or a long running series with catchall storytelling to have a hit. The only constant across any success in television is good storytelling. Good storytelling speaks to our times. So take risks, push boundaries, explore the uncomfortable, dare to fail in order to achieve.”

While the Emmys as an awards ceremony was grossly outdated, the shows nominated were not. In addition to BABY REINDEER, nominees like THE BEAR, SHŌGUN, RESERVATION DOGS, and TRUE DETECTIVE: NIGHT COUNTRY all push the boundaries of studio storytelling and are what Ted Hope would call “ambitiously authored.” One could assume none of these shows fit into any network bucket when first pitched. Something I need to remind myself when faced with a story that feels impossible to get made. 

The articles in this reading list may fuel your own cynicism, but I stand by my belief that it is necessary to stay on top of how the industry is behaving and shifting in order to figure out how to get your own risk-taking work made. You have to know how the system is operating if you want to navigate around it. 

By the end of the SEX AND THE CITY episode, despite her writer’s block and cynicism, Carrie lands herself a book deal and ends the episode dedicating her book to “hopeful, cynical women everywhere.” So I will push through my producer imposter syndrome, continue to write, and maybe even read that script I loved one more time. 

California Gov. Gavin Newsom Signs AI Bills That Give Performers Greater Protections & Control Over Their Likenesses, Limit Use Of Election Deepfakes
“AB 1836 expands the scope of the state’s postmortem right of publicity, including the use of digital replicas, meaning that an estate’s permission would be needed to use such technology to re-create the voice and likeness of a deceased person. There are exceptions for news, public affairs and sports broadcasts, as well as for other uses such as satire, comment, criticism and parody and for certain documentary, biographical or historical projects. The other bill, AB 2602, bolsters protections for artists in contract agreements over the use of their digital likenesses.”
Deadline Hollywood by Ted Johnson 09/17/24

White-Collar Workers Are Getting Squeezed. Even Oscar-Winning Producers.
Corporate consolidation and technology have upended many jobs in recent decades. But few arcs are more surprising than that of the Hollywood producer.
The New York Times by Noam Scheiber 09/15/24

The Palace Coup at the Magic Kingdom
“The inside story of how Bob Iger undermined and outmaneuvered Bob Chapek, his chosen successor, and returned to power at Disney.”
The New York Times By James B. Stewart and Brooks Barnes 09/08/24

Then There Were Three: Sundance Shaves Contenders For 2027 Relocation Down To Final Hopefuls
“After months of proposals and site visits, Sundance has whittled the swath of contenders for a potential new home for the festival down to three. Among the trio, there is a bit of the old, a bit of the new, and a bit of WTF? To that end, with a possible relocation set for 2027, the united Utah bid of Salt Lake City/Park City has made the cut, along with Boulder, Colorado, and Cincinnati, Ohio.”
Deadline Hollywood by Dominic Patten 09/12/24

2024 Fall Festival Movie Sales So Far: Sideshow and Janus Acquire Venice Winner ‘Vermiglio’
“The fall festival season is wrapping up! Each year, dozens of movies premiere at festivals with distributors looking to launch them before they’re released in theaters or on streaming services. But dozens more are independent films without distribution came to the festivals looking to be discovered and acquired for release. This year, over 200 movies made their world premieres across the Venice Film Festival, the Toronto International Film Festival, and the Telluride Film Festival, and we’ve seen some big name movie sales across all three.”
IndieWire by Brian Welk 09/11/24

Hollywood’s Not-So-Hot Indie Film Summer
“While much has been made of the summer that was at the box office, obviously most of the attention was put on the studio films and tentpoles. But how about the other side?”
The Ankler by Sean McNulty 09/10/24 *scroll way down the page for the article*

U.S. Adds 142,000 Jobs In August As Focus Turns To Fed Rate Cut; Showbiz Employment Continues Drop
“The movie and sound recording industries continued to see job losses during the month, shedding 4,200 positions to 444,300. Publishing industries lost 3,700 jobs to 916,700, and broadcasting and content providers lost 1,200 jobs to 337,500. The figures are estimates from the Department of Labor’s Bureau of Labor Statistics, and are typically adjusted as more data comes in.”
Deadline by Ted Johnson 09/06/24

Working-class parents do not see film and TV as viable career for their children
“Nine in 10 working-class parents would discourage their children from pursuing a career in film and television because they do not see it as a viable career, according to a report. Research conducted by Netflix and the National Youth Theatre found that 89% of working-class parents would advise their children against trying to work in the industry because of the perception it is not a sustainable career.”
The Guardian by Lanre Bakare 09/04/24

Production Assistants Launch Ambitious Bid for Unionization With LiUNA
“The Hollywood branch of Laborers’ International Union of North America (LiUNA), Local 724, is partnering with the grassroots group Production Assistants United to organize one of the last non-union crew positions on entertainment sets, Local 724 business manager Alex Aguilar Jr. announced on Monday. The goal is to bring roles where, classically, early-career creatives — set production assistants, office production assistants, art production assistants, assistants and production secretaries — pay their dues into the union fold across the country.”
The Hollywood Reporter by Katie Kilkenny 09/02/24

Summer Box Office Dilemma: Domestic Revenue Falls 10 Percent, But It Could Have Been Far Worse
“The numbers are in — domestic revenue for the 2024 summer box office hit an estimated $3.67 billion, down 10.3 percent over 2023, according to final numbers issued Tuesday by Comscore. As counterintuitive as it may seem, Hollywood studio executives and theater owners aren’t panicking.”
The Hollywood Reporter by Pamela McClintock 09/02/24

Documentary ‘Join or Die’ to Kick Off In Real Life Movie Club, Created For Americans Seeking Connections Across the Political Divide
“A nationwide Sept. 15 screening of Rebecca and Peter Davis’s feature documentary “Join or Die” will kick off the inaugural In Real Life Movie Club, a non-profit, in-person film series created for U.S. audiences to gather and connect with their local community and discuss trending topics currently being explored in independently made documentaries.”
Variety by Addie Morfoot 08/27/24

‘It’s like you’re starting from scratch’: Hollywood’s below-the-line artists pivot to other gigs
“Production designer Dave Blass wrapped his last big project, filming the Paramount+ series “Star Trek: Picard” in L.A. in 2022 before the Writers Guild and SAG-AFTRA walkouts hit last year. Even now, almost a year after those strikes ended, the two-time Emmy nominee for “Justified” says Hollywood’s production designers, set decorators and their crews still have little work.”
The LA Times by David A. Keeps 08/26/24

Distribution Advocates Launches FilmADE Grants to Help Fund Marketing for Independent Films
“Distribution Advocates, a collective that aims to reclaim power for independent storytellers, has launched the FilmADE Fund. The program seeks to support up to 30 independent film releases a year by offering financial support, skills training and industry collaborations for U.S. theatrical and non-theatrical releases.”
Variety by Selena Kuznikov 08/24/24

Development Fees For Writers On The Rise Amid Depressed TV Buying: “We Call It Schmuck Insurance”
“Fewer scripts selling has led to writers putting more work into their pitches to make them stand out in hopes to boost their chances of success. And, with overall deals also drying up and staffing jobs harder to find amid a decline in U.S.-made original scripted series post-Peak TV, there are lot of writers struggling to support their lifestyles with house, car and private school tuition payments who are no longer willing to spend a considerable amount of time developing pitches for free. So their agents started asking for development fees.”
Deadline Hollywood by By Nellie Andreeva 08/22/24

Chick-Fil-A Hatches Plans For Streaming Service As Reality TV Comes Home To Roost
“Chick-Fil-A is moving aggressively into the entertainment space with plans to launch a slate of originals for its own streaming platform. Deadline understands that the fast-food firm has been working with a number of major production companies, including some of the studios, to create family-friendly shows, particularly in the unscripted space. It is also in talks to license and acquire content.”
Deadline Hollywood by Peter White 08/21/24

DOC NYC Unveils 40 Under 40 List of Filmmakers to Watch
The annual honor celebrates young creatives that are making an impact in the field of documentary, ranging from documentarians to editors and sound designers. This year, the seventh annual season for the list, celebrates emerging documentary talent from filmmakers based in the U.S., Canada, and/or Mexico. The 2024 cohort will be honored during the November festival at a private cocktail reception, with the 15th edition of DOC NYC taking place in theaters in New York and online November 13 through 21.
IndieWire by Samantha Bergeson 08/20/24

Shorenstein Center Announces Fall 2024 Cohort of Documentary Film Fellow
“The group joins the Center under the auspices of the Documentary Film in the Public Interest Initiative and will spend the semester conducting research and engaging with the HKS community about the challenges facing the field and its impact on civic life.”
Filmmaker Magazine 08/19/24

Tubi’s Rise and Why Hollywood Should Be Worried
“Tubi and its fellow FAST services — Pluto TV, Amazon Freevee and the Roku Channel — have gone from footnotes in the Streaming Wars to major players growing every year. Why are these services growing? In particular, why is Tubi, owned by Fox, doing so well?”
The Ankler by Entertainment Strategy Guy 08/15/24

Saving Ourselves at Getting Real ’24
“In the first days of Getting Real ’24, IDA’s biennial documentary conference, which ran April 15–18 in Los Angeles’s Little Tokyo district, two major events crashed the proceedings. First, the event’s host location, a DoubleTree by Hilton Hotel, faced a labor action from UNITE HERE! Local 11. As dozens of documentary filmmakers picked up their badges at the DoubleTree, workers picketed the hotel lobby, marching for a fair contract. It was not a good look. Within a day, the entire conference picked up and moved.”
IDA by Anthony Kaufman 08/15/24

Hollywood is slowly getting back to work, but the days of peak TV aren’t coming back
“A full nine months after the debilitating “hot labor summer” and fall concluded, a picture is starting to emerge of an industry in a state of modest recovery. New data indicate that, after a long period of significantly reduced activity, some companies are commissioning more shows again, but the comeback remains incredibly slow.”
LA Times by Wendy Lee, Stephen Battaglio and Thomas Suh Lauder 08/15/24

The Biggest Theater Chain for Specialized Film Faces Foreclosure: That Only Sounds Like Disaster
“Landmark Theatres turns 50 this year, but this could be its last. Owned by the Cohen Media Group, they’re part of a foreclosure auction against Cohen Bros. Realty by the Fortress Investment Group for payment of a $534 million loan under New York Uniform Commercial Code law. A judge declared the auction should proceed November 8 unless Cohen and Fortress come to an agreement.”
IndieWire by Tom Brueggemann 08/15/24

A Requiem for Mumblecore: Looking Back at the Last Time Movies Were Allowed to Be Small
“”Mumblecore” was a punchline before it ever got started, but its low-def look and fumbling improvisations captured social anxieties that movies have since grown too big to see clearly.”
IndieWire by By Vikram Murthi 08/14/24

Here’s a 7 Point Plan to Save Hollywood Workers and the Marketplace
“I’ve been on “pro-competition” since I went to business school. Indeed, I feel strongly that our economy, in general, and our industry (Hollywood), in particular, needs competition more than ever. That’s the case I plan to make today, one long article dedicated to antitrust. I want to convince as many people in Hollywood to join me in protecting markets, especially since it’s the most pro-worker policy out there. If we want a better Hollywood, we need a more competitive Hollywood.”
The Entertainment Strategy Guy 08/14/24

Artists Score Major Win in Copyright Case Against AI Art Generators
“Artists suing generative artificial intelligence art generators have cleared a major hurdle in a first-of-its-kind lawsuit over the uncompensated and unauthorized use of billions of images downloaded from the internet to train AI systems, with a federal judge allowing key claims to move forward.”
The Hollywood Reporter by Winston Cho 08/13/24

Todd Field Looks Back on How the Film Industry Has Changed Since 2000: ‘Those Days Are Gone’
“The director of “In the Bedroom” and “Little Children” on the pleasures and struggles of becoming a major filmmaker at the turn of the millennium.”
IndieWire by Jim Hemphill 08/12/24

Are Above-the-Line Diversity Hires “Cover-Your-Ass” Tokenism or Meaningful Collaboration?
“Over the past decade, propelled by calls of #DocsSoWhite in 2016, the 2020 “summer of racial reckoning,” and the ensuing controversy around HBO’s Tiger Woods documentary series later that same year, the U.S. documentary industry has increasingly grappled with its legacy of whiteness and colonialism, trying to be more inclusive and equitable both in the ways it tells stories and in who tells them.”
IDA by Anthony Kaufman 08/12/24

The Race Is On to Build The Next Profitable Streaming Service
“The five major Hollywood streaming services reported a collective profit of $3.2 billion in the first six months of this year.”
Bloomberg by Lucas Shaw 08/11/24

This Was the Week That Cable TV Died
“A 30-pack of basic-cable channels across three companies lost more than $15 billion in value in 39 hours.”
IndieWire by Tony Maglio and Brian Welk 08/09/24 

Paramount to Lay Off 15% U.S. Workforce, About 2,000 Employees, in Fresh Round of Cuts
“Paramount Global will cut 15% of its U.S. workforce in the next few weeks — a round of layoffs that will affect about 2,000 employees — coming ahead of its planned merger with Skydance Media. With the layoffs, the company expects to record a $300 million-$400 million restructuring charge in Q3, Paramount CFO Naveen Chopra said.”
Variety by Todd Spangler 08/08/24

TikTok Launches ‘Spotlight’ to Let Entertainment Marketers Tap Into Fan Content; Warner Bros. Touts Results of ‘Dune 2’ Campaign
“This week, the app is widely launching TikTok Spotlight, a new promotional solution that lets movie studios, networks and streamers piggyback on content in the For You feed that’s related to a specific title or franchise.”
Variety by Todd Spangler 08/08/24

“We Need To See A Change Of The Guard:” WME Independent’s Alex Walton & HanWay’s Katie Ellen Headline Keynote On State Of Indie Film Biz — Locarno
“Positivity was the guiding principle of this morning’s industry keynote at the Locarno Film Festival, but you wouldn’t have guessed that listening to the discussion that ensued.”
Deadline Hollywood by Zac Ntim 08/08/24

Amazon Wants to Grow to 16 Theatrical Releases Per Year by 2027
“Amazon and MGM want to ramp up to 16 theatrical releases per year by 2027, which a source with knowledge told IndieWire is accurate. That’s more than double where the companies are at now, with just six theatrical titles planned in 2024. The 16 titles also doesn’t include any movies Amazon would release outside the U.S., the movies that it might acquire from other studios (sometimes in the 5-6 movies range), or even include the movies it intends to release directly to streaming on Prime Video.”
IndieWire by Brian Welk 08/07/24

Before Reality Became Debatable, There Was ‘The Blair Witch Project’
“Twenty-five years ago, the indie horror blockbuster compelled audiences to ask, “Was that real?” The question now permeates our age of misinformation.”
The New York Times by Maya Salam 08/07/24

Cost-Plus Deals Are Dying. Now What?
“Split rights, windows and co-prods — once unheard of in winner-takes-all streaming — are back, along with lessons from Taylor Swift and Glen Powell”
The Ankler by Ashley Cullins 08/06/24

BOOM: Judge Rules Google Is a Monopolist
“Judge Amit Mehta ruled that Google violated the Sherman Antitrust Act by excluding rivals from the general search engine market in order to maintain its monopoly. What happens now?”
BIG by Matt Stoller 08/06/24

Women In Leading Film Roles Declined In 2023, USC Annenberg Inclusion Study Finds
“A new study by the USC Annenberg Inclusion Initiative has found that women and girls made up just 30% of the leading film roles in the top-major motion pictures of 2023, representing a 14 percentage point drop from the year before. The trend extended to women and other underrepresented groups both in front of and behind the camera, revealing an overall stagnation in inclusion efforts in the movie industry.”
Deadline Hollywood by Patrick Hipes 08/05/24

Disney Entertainment Television Lays Off 140, National Geographic Heavily Impacted
“Layoffs are underway at Disney Entertainment Television on Wednesday. Roughly 140 people are affected, representing about 2% of the total DET workforce. National Geographic is the hardest-hit brand with about 60 layoffs, or some 13% of its staff.”
Deadline Hollywood by Nellie Andreeva 07/31/24

Scott Stuber Closes Deal To Revive United Artists
“Former Netflix Chairman Film and Universal Vice Chairman Scott Stuber is near a deal to revive United Artists under the Amazon MGM umbrella, sources said.”
Deadline Hollywood by Mike Flemming Jr 07/26/24 

Even Apple Is Cutting Costs on Its Series and Films — Report
“Apple, the world’s richest (and only $3 trillion) company, is now practicing frugality as it pertains to entertainment content, Bloomberg reported. If only they’d do the same for the price of our iPhones.”
IndieWire by Tony Maglio 07/23/24

YouTube, TikTok Eroding Viewing Time Spent Streaming TV & Movies
“While linear TV has lost watch time to on-demand streaming, rising video consumption on social media platforms is increasingly competing with viewing that happens on SVOD services. Video engagement on social media platforms — which is largely attributable to four dominant platforms: YouTube, TikTok, Instagram and Facebook — is massive and growing each year.”
Variety by By Audrey Schomer 07/16/24

Fox Entertainment Undergoes Layoffs Following Restructuring
“Fox Entertainment is the latest media company to implement staff reductions, eliminating 30 positions Thursday. The cuts stem from the company’s realignment of content and business operations into three groups — the Fox Television Network, Fox Entertainment Studios and sales arm Fox Entertainment Global — which was announced in March.”
Deadline Hollywood by Nellie Andreeva 07/18/24 

Independent Distributor Room 8 Launches In U.S. With Slate Of Movies From Venice, Busan & Toronto
“Good news for arthouse filmmakers and companies overseas with the launch of a new U.S. distributor for international movies: Room 8 Films. Set up by Rachelle Shukman, formerly of Ramo Law PC and sales firm Fortitude International, and fashion merchandising graduate Annie White, the LA-based outfit says it has private investment from Silicon Valley.”
Deadline Hollywood by Andreas Wiseman 07/18/24

Warner Bros. Discovery to Lay Off Nearly 1,000 Employees, Cuts to Max Staffers in Single Digits
“Sources tell Variety that nearly 1,000 employees will be laid off across a few sectors in a new cost-cutting move at WBD, including finance, business affairs, production and at streamer Max.” Variety by Jennifer Maas 07/16/24

‘Sing Sing’ Filmmakers Paid Everyone On Set the Same, and Now Their New Company Wants to Do It Again
“Greg Kwedar and Clint Bentley are launching a new company with the hopes of making independent filmmaking more sustainable. Part of their pitch? Paying everyone on set — from the PAs to the star — the same wage and give all equity.”
The Hollywood Reporter by Mia Gallupo 07/12/24

Redbox Owner Chicken Soup For The Soul To Liquidate In Chapter 7 Bankruptcy Shift; Workforce Of 1,000 To Be Let Go And 24,000 Kiosks Shut Down, Lawyer Says
“Chicken Soup for the Soul Entertainment, which spun off from the namesake self-help book publisher in 2017, grew via a series of acquisitions, buying properties like the streaming service Crackle and film distributors Screen Media and 1091 Pictures. Its biggest M&A deal, the $375 million acquisition of Redbox in 2022, proved its downfall for myriad financial and strategic reasons.”
Deadline Hollywood by Dade Hayes 07/10/24

Christine Vachon: “The Strikes Had a Much More Profound” Impact on Indie Film Than COVID
“The indie film legend also told a Karlovy Vary session about Todd Haynes’ new film, while a Mubi exec called the streamer “a modern, globally scaled studio” with global theatrical distribution ambitions.”
The Hollywood Reporter by Georg Szalai 07/02/24

Netflix and Amazon Are Giving Us the World
“The two largest streamers (by user base) accounted for more than half (53 percent) of all film and TV titles commissioned for SVOD streaming globally between January-March 2024, according to a new report by Ampere Analysis.”
IndieWire by Joe Maglio 07/01/24

Of Mascots and Men: Mike Cheslik and Ryland Brickston Cole Tews on Hundreds of Beavers
“The phrase “word-of-mouth indie theatrical hit” sounds as outdated in 2024 as “coming soon to LaserDisc.” And yet, the slapstick fur-trapping adventure comedy Hundreds of Beavers has graduated from its lengthy festival run to become that rarest of things, a star-free independent film that has already grossed more than double its $150,000 production budget during its self-distributed gradual cinema rollout (still continuing as of this writing, despite its release on VOD).”
Filmmaker Magazine by by by Doug Dillaman 06/27/24

A Crisis of Faith: Have Funders Lost Faith that Art Films Can Make an Impact?
“In April, the collapse of Participant Media sent shockwaves through the film industry. How could a 20-year-old company—with box office hits such as An Inconvenient Truth and The Help and 21 Oscars, including two Best Picture winners (Spotlight, Green Book)—close its doors without warning?” 
Filmmaker Magazine by Anthony Kaufman 06/27/24

Paramount Kills More Online Content, Axing Archives From Comedy Central, MTV, TV Land and CMT
“Paramount moved to pull down archived content from MTV News earlier this week, including decades of entertainment coverage. Now the reaper comes for the online homes of Comedy Central, MTV itself, TV Land, Logo TV, the Paramount Network and CMT, instead directing visitors to network-branded versions of Paramount+.”
The Wrap by Mike Roe 06/26/24

Field Guide #7: Producers
“In many ways, producing is Hollywood’s Ur-profession — the calling that built the industry. It’s the hidden hand behind so much of what makes Hollywood great. While the artists get the attention, it is the producers who separate us from the animals, taking the swirl of artistry and putting it on solid ground. It may be the most valuable of professions, but it is also the most misunderstood, starting with its very name which is claimed by all manner of dilettantes, glad-handers and charlatans who populate the margins of the industry.”
The Ankler by Richard Rushfield 06/18/24

Behind the stunning job losses in Hollywood: ‘The audience has moved on’
“Beyond the financial blows inflicted by the pandemic and the actors’ and writers’ strikes, the vast Los Angeles-based entertainment industry known as Hollywood is facing the far greater forces of economic disruption that have already struck the rest of the United States. Much like manufacturing, agriculture and other major segments of the U.S. economy before it, the result for Hollywood appears to be mixed: a possible return to prosperity and good times for some, ever tighter times for others.”
The Los Angeles Times by Don Lee and Samantha Masunaga 06/10/24

Starbucks is the latest brand to launch its own movie studio
“The coffee chain just announced that it’s throwing its mug into the filmmaking business. It’s officially launching its own production company, Starbucks Studios.”
FastCO by Sarah Bregel 6/10/24

Sundance Announces 10 2024 Producers Lab Fellows
“The Sundance Institute announced today the 10 producers, and their projects, selected as Fellows for the 2024 Producers Lab. The Lab begins today and runs through June 22 at the Ucross Foundation in Wyoming.”
Filmmaker Magazine by Scott Macaulay 06/10/24

Everything Filmmakers Must Know About Distribution Is Now Yours, for Free
“Seed&Spark and Kinema have launched open-source online guide The Distribution Playbook to address the essential question: ‘What the f*ck is happening in distribution and what are we supposed to do about it?’”
IndieWire by Brian Welk 06/07/24

Cinetic Media Launches Library Services Division to Oversee Re-Licensing of Indie Films
“Cinetic Media has launched a new unit that will oversee the re-licensing of many of the iconic titles that drove the independent film revolution of the 1980s and the 1990s. The move comes as the distribution landscape in Hollywood is being reshaped. Dubbed Cinetic Library Services, the division will identify innovative ways to reach new audiences and disseminate titles across subscription streamers, transactional VOD, direct-to-consumer and theatrical re-releases.”
Variety by Brent Lange 06/04/24

Hollywood Nightmare? New Streaming Service Lets Viewers Create Their Own Shows Using AI
“Fable, the studio behind the viral AI-generated ‘South Park’ clips, has announced a streaming platform that allows users to create their own content.”
The Hollywood Reporter by Winston Cho 05/30/24

Hot Docs Temporarily Closes Theater and Announces Layoffs Amid ‘Urgent Financial Challenges’
“Hot Docs, the Toronto-based documentary film festival, has announced it will temporarily close its flagship Hot Docs Ted Rogers Cinema and will lay off a portion of its staff to combat “urgent financial challenges” faced by the organization.”
IndieWire by Brian Welk 05/22/24

Conflict, Cuts And Identity Crises: How Film Festivals Are Navigating Choppy Waters
“Rarely in recent decades has the festival circuit been as disrupted as it has in the past 12 months. A confluence of local and global issues — from war to inflation, political unrest to societal shifts — have created a perfect storm for many of these vital cultural platforms, leading to funding shortfalls, staff losses, major PR headaches and in some cases cancellation. Amid shifts in consumer and industry behavior, there are also broader existential questions being asked about the role and potency of festivals.”
Deadline Hollywood by By Andreas Wiseman, Matthew Carey 05/22/24

Kino Lorber Just Launched Its Own Streaming Service
“Kino Lorber is expanding its streaming footprint. The boutique art-house distributor just launched its own SVOD platform, the Kino Film Collection. The new app is available now as a standalone service on Apple TV, Fire TV, Android TV, and Roku, and it will feature hundreds of movies from Kino Lorber’s film library of more than 4,000 titles. Subscriptions will begin at $5.99 per month.”
IndieWire by Brian Welk 05/17/25

TIFF to Launch Official Content Market, Beginning With 2026 Festival
“TIFF is expanding its industry influence with the launch of an official content market, designed as a central hub for buying and selling screen-based projects, intellectual property, and immersive and innovative content across all platforms.”
Variety by by Angelique Jackson 05/16/24

Apple, Netflix Amazon Want to Change How They Pay Hollywood Stars
“In recent weeks, Apple Inc.’s Hollywood studio has told its business partners that it wants to change the way it pays talent. After years of compensating people as though all their projects were successful, Apple will soon begin basing pay on how a series or movie performs.”
Bloomberg by Lucas Shaw 05/12/24