Explaining the Business of Entertainment
Entertainment topics simple and complex explored in-depth.
When I worked at a studio, I found it funny that we referred to our development execs as the creatives. Not that they were creating the shows, but compared to finance or strategy folks, development execs were way more creative. They read scripts all day, took tons of pitches, provided
One of my guilty pleasure TV series to watch is Forged in Fire on the History Channel. Like Making It, there is something really enjoyable about watching people make things, but especially when they do it really well. Especially in a positive atmosphere, which is what Forged in Fire and Making
(This is an “Appendix” to a multi-part series answering the question: “Who will win the battle to make the next Game of Thrones?” Previous articles are here: Part I: The Introduction and POCD Framework Appendix: Licensed, Co-Productions and Wholly-Owned Television Shows…Explained! Appendix: TV Series Business Models…Explained! Part 1 Appendix: TV Series
(This is an “Appendix” to a multi-part series answering the question: “Who will win the battle to make the next Game of Thrones?” Previous articles are here: Part I: The Introduction and POCD Framework Appendix: Licensed, Co-Productions and Wholly-Owned Television Shows…Explained! Appendix: TV Series Business Models…Explained! Part 1 Appendix: TV Series
(This is another entry in a multi-part series answering the question, “Who will win the battle to make the next Game of Thrones?” Read the previous articles here.) Today, we continue our journey explaining how a TV show makes money for its producers. Last week, I started describing the
I’ve spent a lot of time trying to make the “ideal” TV Series business model over the last few weeks. Getting that right—and a bout of stomach flu/Avengers: Endgame that ruined/thrilled the end of last week—has been holding up this article. But honestly, why bother? As I was reflecting on
A big topic in the streaming world has been who owns what. All I can say is, “Finally!” For many years, we—sort of speaking of the business press, especially the casual observers—have treated all streaming TV shows interchangeably. If Netflix branded a show an “original” for all intents, the press referred
I did something fun for the first time last week: I emailed questions for a corporate earnings call. Obviously, it was Netflix. I’ll let you know why.. (And I’m under no illusions that I’ll actually have one of these questions asked.) Normally, if you asked me if earnings calls matter,
(This is a multi-part series answering the question: “Who will win the battle to make the next Game of Thrones?” You can find the previous articles below: – Part I: The Introduction and POCD Framework – Where We’ve Been – Part II: How “People” Change the Odds of Success – Appendix: Licensed, Co-Productions
The trouble with value chains—which I unveiled Monday—is that they don’t stay the same forever. They are constantly changing. Disruption, right? Take filmed entertainment. In 1980, it was just movies and TV, with movies in theaters and TV on broadcast. But home entertainment, cable, digital and the internet have all