|
| |
| Time for a Digital Detox Summer |
| The biggest news in media this week seemed to be the tiny penis episode of South Park, with many people in my feed seeming to feel that was how you speak truth to power. Depressing times, when that’s the best we get. Sure, if we base this on numbers of views, shares and mentions, that had an impact, but I’m pretty sure that kind of commentary is not going to help change any minds or save our democracy. Contrary to popular wisdom, I don’t think the bosses at Skydance/Paramount are all that upset with the comics, or the late night hosts, because they’ve done their deal(s) with the devil and can claim they still support free speech. Non-story, I think. While it won’t likely get the same number of views, I was much more impressed with what Laura Nix and Marc Weiss cooked up with the Federal Workers Against DODGE in their I Do Solemnly Swearvideo podcast series. That covers a real, tragic story and is one that deserves just as much attention as any small genitalia jokes. It also strikes me as something that folks in public media should have been doing instead of whatever it was that Protect My Public Media was doing. But give Trey and Matt credit – at least we got some public push-back from within corporate media, as we didn’t see the same in the public sphere (then again, public media didn’t have $16 million sitting around to ahem, settle their case). Lesson learned. Pay the costs of doing business. That’s what Amazon did with the $40M Melania doc (pre-emptive capitulation), what Paramount just did, and over in Academia, that’s what Columbia did, and in legal circles, the same thing happened multiple times. We’re seeing it now with international diplomacy and tariffs, as well. Don’t shut up…or stand up… just pay up. Depressing times again. That’s what makes the I Do Solemnly Swear series so poignant. These are folks who are truly powerless, finding some power by telling the truth (actual, real truth, can you believe it?!), even if they must be off camera to do it. These are the stories we need to be telling, and the fights we need to join. Sure, we need some pure entertainment, too, but we need to use our storytelling skills to bring more truth into the world, and we need artists to put up the fight that too many institutions won’t take on, now that it’s not a trending topic, but one that will put you in the cross-hairs. A quick kudos to Amy Sherald who just did that with the Smithsonian is in order here, before I forget – part of storytelling is not capitulating when its convenient. But it’s tough stuff, I admit. Just looking at the media related news is depressing enough these days, and that doesn’t even consider the much more important globally depressing news each morning. That has been taking its toll on me and my ability to write this newsletter, to be honest. Finding the stomach to write something more uplifting, like the last “Think I’ll Call it Morning” post is getting harder. Which is why I’ve gone from weekly postings down to about one or two a month at the most (well, that and too much work, which is a good problem to have in these days of layoffs and cuts). I try to keep my spirits up and put some activism in place by participating (albeit, weakly, I admit) with the Future Film Coalition, which is quickly putting together some good ideas for the future. But it’s also why I am quite ready for my annual digital detox break for the month of August. Each year, I unplug from all social media, all postings, and all newsletter writing and online reading for the entire month of August (until after Labor Day). That means no more newsletters til September.
I’ve been doing this since 2010, and it’s always a necessary refresh for my brain. But this year, I need it more than usual, and I am hoping it will re-energize me to get active for the Fall. I think, perhaps, most of us need a break for a bit of the Summer, if we’re lucky enough to be able to take one. Rejuvenation might just help us pull together with greater urgency come September.
For those of you who are just readers, not clients, I’ll see you again post Labor Day, and I bet you won’t even have missed me. For clients, and potential clients, I’m still working through August 12th, and am easy to find on email, but then I completely disconnect for a vacation from August 14-Labor Day. Why am I telling all of you this here? Because too many people reach out via the newsletter, and this is a way to let the world know how to find or not find me in the interim. Until Labor Day... be well, take a digital detox, see some movies on the big screen, and keep dreaming up ways to change the future. |
| |
| FilmThe Future Of Entertainment — A Conversation With Diana Williams: This episode of the Jump Podcast features a conversation with Diana Williams, the CEO of Kinetic Energy Entertainment (which specializes in building businesses around entertaining IP). She talks about the future of storytelling, the unwritten rules of media, and why it’s important to embrace the messiness of an ever-changing entertainment landscape (GSH). I’ve known Diana for many years (and shared many great meals with her), and she’s always one step ahead of everyone else in the biz, so give this a listen. (BN)
Insights Into The Use Of Generative AI In Documentaries: The Archival Producers Alliance Generative AI Initiative writes: “Ethical and thoughtful usage of evolving technologies such as AI is often a process rather than a simple solution, and filmmakers can learn from each other along the way.” Check out two case studies that illustrate the ethical and consensual ways filmmakers are approaching generative AI in their work. Case study #1 is about how documentary filmmakers practice AI transparency throughout the production process and Case study #2 is about how synthetic speech can be used consentfully and skillfully with documentary participants. Key insights: (1) Ethical use of synthetic speech requires a deep trust between filmmaker and participant; (2) Synthetic speech technology can generate human speech that is indistinguishable from authentic voices or primary sources; (3) There are many possible approaches to disclosure when it comes to AI (and some distributors and streamers have their own requirements for transparency). H/T to Kevin Bay for sharing these case studies with the Sub-Genre team. (GSH)
Why the Film Industry Should Care about the NEA Cuts: I think this is obvious, but just in case you aren’t sure, read this Op-Ed piece for THR from Robin Bronk of the Creative Coalition which makes a great argument that, “Let’s be clear: this isn’t belt-tightening. It’s censorship by bureaucracy.” Read the piece for even more. (BN)
Film Fans To Become Shareholders, Not Just Consumers: CineBlock, a tech company focused on democratizing entertainment media finance now enables normal people / regular fans to own a stake in film, TV, and other media projects. The SEC-approved platform is built to help creators raise money at any stage of their project without losing creative control or having to wait for money from traditional financiers. “The average fan probably never imagined they could invest in a story before it hits the screen…. We're turning passion into ownership by giving everyday people a stake in the stories they love-and creators a new way to fund their visions (Sharif Bennett, co-founder of CineBlock).” Two big takeaways: (1) As put by Business Insider, “[t]he strategic timing of CineBlock's launch aligns with recent contractions in traditional content financing. Hollywood studios have scaled back on development deals, while streamers like Netflix are becoming increasingly risk-averse in greenlighting new projects. CineBlock aims to fill the gap by offering a model where audiences, not just executives, decide which projects get funded; (2) Independent creators with massive viewership and hardcore fans (YouTube has over 2.7 billion monthly active users) may now be able to scale beyond short-form content into feature-length projects by and for their fans. (GSH)
Peace is Loud Collective Lens Library: Peace is Loud is thrilled to share their new Collective Lens Library, an online resource directory that holds original tools, templates, and guides, which support filmmakers’ impact work. The library now includes resources on impact strategy, participant care, guides on distribution and partnerships, case studies, and templates for budgets and partnership management, among many others! The library includes resources in English and Spanish. They built this directory so that all filmmakers can have free access to tools that can help them make films in care-driven ways and fuel their film’s impact potential. (BN)
SLAMDANCE "RACEWALKERS" SCREENING | JULY 29 | NYC: Slamedance Unstoppable is taking their lineup of films by disabled filmmakers on the road! ReelAbilities: New York is proud to partner with them to screen "Racewalkers" on July 29 at 7pm at the Marlene Meyerson JCC Manhattan. Tickets and info here, and use code “slamdance20” at check out for 20% off for newsletter readers. |
| Branded ContentCoco Chanel Turns To Print: Late last month, Coco Chanel nosed its way into the print media sphere by starting its first glossy arts magazine, “Arts & Culture,” devoted to chronicling the practice and lives of contemporary artists. The magazine features cultural essays about artists and/or art historians like Lu Yang, Tracey Emin, and Tomás Saraceno, an interview with photographer Stephen Shore, a visual essay by photographer Roe Ethridge, and a report on AI art by curator Hans Ulrich Obrist. Yana Peel, Chanel’s President of Arts, Culture & Heritage notes, “[w]e’re seeing a resurgence of interest in independent magazines and in independent bookstores,” which is why the publication will be available at select indie magazine and bookstores (New Yorkers, get yours at Casa Magazines in the West Village). |
|
| |
|
|
|
|
|
|
|
|
| Emily Huggard, a professor of fashion communication at Parsons School of Design says, “[a]s people move away from consumption, brands… are looking for other ways to connect…. When people read something like this, they can tell there’s a brand undertone to it…. But it all depends on the writers, how the articles are done, and if it feels culturally tapped in. A magazine like this can be relevant, if they get that synergy right.” Learn more at Alex Vadukul’s New York Times article. (GSH) |
| MiscWant to Learn More About the Impact of DOGE on Federal Workers? (as mentioned above) It’s pretty abysmal, but also super important, and my friends Laura Nix and Marc Weiss have a new video podcast series about it - I Do Solemnly Swear is a firsthand, unfiltered look at how DOGE is quietly dismantling the backbone of our federal government and jeopardizing essential public services, through the voices of the workers across a dozen agencies fighting to save critical programs and benefits. Americans rely on these federal services every day — from veterans' healthcare to air traffic control to tax systems. The series makes clear: this isn’t about abstract bureaucracy; this is about safety, stability, and the public trust being dismantled in real time. This is not just about job cuts. It’s about the unraveling of essential public infrastructure and a dangerous push toward politicization and privatization of services that serve every American. The interviews are emotional, urgent, and deeply personal. Each employee voice is unique, but together they form a chorus warning us about a system in crisis. DOGE claims to stand for “efficiency,” but what we heard over and over is that it's creating chaos — gutting departments, ignoring expertise, and putting lives at risk. If you want to learn more, check out their linktree, and take action here. (BN, text verbatim from the team) Everyone Loses When AI Makes A Stink: A study of 3,000 U.S. adults conducted by Raptive found that people’s trust drops by almost 50% when an article feels like it was written by AI, even if it isn’t (fun fact, many are starting to call this feeling “AI stink”. What’s more, reader skepticism resulted in a “14% decline in both purchase consideration and willingness to pay a premium for products advertised alongside content perceived as AI-made (Trisha Ostwal, Adweek).” Ostwal also notes that “people who saw ads placed adjacent to content they perceived as AI-generated rated them 17% less premium, 19% less inspiring, 16% more artificial, 14% less relatable, and 11% less trustworthy.” The findings are pretty important, especially as many media execs seem to be going all in on AI: Business Insider fired 21% of its staff with its CEO saying there’s “a huge opportunity for companies who harness AI first”, MetroWest Daily News, Milford Daily News, and Wicked Local, are using AI to generate articles, and NewsGuard identified over 1,200 AI-generated news sites operating with little to no human oversight. More details about the numbers produced by “AI Stink” at Ostwal’s Adweek article. (GSH) Creators Will Legally Access Tons Of IP For Game-Making: Online gaming platform and creation system Roblox is launching a “new licensing platform that will make it easier for companies to offer their intellectual property to creators so they can build approved experiences (Jay Peters, The Verge).” Find the full announcement with details from Roblox Chief Product Officer Manuel Bronstein. Roblox’s new platform launches first with Lionsgate, Netflix, Sega, and Kodansha with 7 IPs available for “licensed use by eligible creators,” including “Squid Game,” “Stranger Things,” “Twilight,” “Saw,” and “Like A Dragon,” with two more IP projects on the way in the coming month or so. Takeaways, put very simply for readers who, like me, aren’t on Roblox (yet): (1) Roblox just made it easy for creators to build games based on famous movies and shows… and not get in trouble for it; (2) Fans will be able to engage with their favorite characters, settings, plots, studios, and brands in new ways. Learn more at Bronstein’s announcement or at Jay Peter’s article for The Verge. (GSH)
Grok For Government: The U.S. Department of Defense is now using Grok, the AI chatbot embedded into X (formerly Twitter) to “[transform] the Department’s ability to support our warfighters and maintain strategic advantage over our adversaries (quote from department chief Doug Matty).” Elon Musk’s startup, xAI (responsible for developing Grok) announced a $200 million government contract this past Monday, and also said they’d roll out “Grok for Government,” described as “a suite of frontier AI products available to United States Government customers…. These customers will be able to use the Grok family of products to accelerate America.” The announcement comes shortly after Grok praised Hitler and made antisemitic comments. Learn more at Winston Cho’s article for The Hollywood Reporter. (GSH)
(GSH) are articles from Gabriel Schillinger-Hyman, not Brian (BN) |
| | | | |
|
|
|
| |
|
