Film Industry Trends

Netflix and Disney+ will soon look a lot more like TikTok. The major streaming platforms are going all-in on short-form video as part of a broader shift that’s reshaping viewing habits. Rather than compete with TikTok on UGC, they’ll surface clips from longer-form content like live events, stand-up specials, and original series, designed to meet short-form cravings while driving users back into full-length viewing. 𝗗𝗶𝘀𝗻𝗲𝘆 𝗵𝗮𝘀 𝗮𝗹𝗿𝗲𝗮𝗱𝘆 𝗯𝗲𝗴𝘂𝗻 𝗲𝘅𝗽𝗲𝗿𝗶𝗺𝗲𝗻𝘁𝗶𝗻𝗴: → ESPN rolled out vertical videos to recap game highlights and offer commentator analysis. → ABC News launched a daily short-form show, What You Need to Know. Netflix has been testing a vertical video feed that serves up clips from its original titles to inspire users to start a movie or series. 𝗧𝗵𝗶𝘀 𝘁𝗮𝗽𝘀 𝗶𝗻𝘁𝗼 𝗼𝗻𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗳𝗮𝘀𝘁𝗲𝘀𝘁-𝗴𝗿𝗼𝘄𝗶𝗻𝗴 𝗽𝗵𝗲𝗻𝗼𝗺𝗲𝗻𝗮 𝗶𝗻 𝗲𝗻𝘁𝗲𝗿𝘁𝗮𝗶𝗻𝗺𝗲𝗻𝘁: 𝗺𝗶𝗰𝗿𝗼𝗱𝗿𝗮𝗺𝗮𝘀. → The global microdrama industry is projected to reach $26bn in annual revenue by 2030. → Vertical mini-dramas have surged over the past few years. → Dedicated apps like DramaBox and ReelShort are seeing subscriber growth but still operate at a loss due to high customer acquisition costs. For Netflix and Disney+, that CAC pressure is far less acute. They already have hundreds of millions of subscribers to seed short-form discovery natively. The line between cinema, streaming, and social content continues to blur, and the competitive set is no longer just other streamers. It’s the entire entertainment ecosystem. → The Oscars and the NFL are on YouTube. → Apple is competing for Emmys and Oscars. In 2025, Netflix delivered $45.2bn in revenue, with ad revenue rising above $1.5bn. The company crossed 325m paid subscriptions in Q4, yet a barrage of price hikes, ads, mergers, and live sports rights battles has left streaming increasingly similar to the cable era it aimed to replace. That’s fueled subscription fatigue. Younger viewers in particular are shifting time and money toward free streaming services, physical media, and social platforms. 40% of US streaming subscribers plan to cancel at least one service in the next 12 months (eMarketer). 𝗠𝘆 𝘁𝗮𝗸𝗲: As an alum of both Disney and TikTok, I’m not sure this convergence is good in the longer term. As product differentiation decreases, Disney and Netflix are betting that their content will outshine TikTok. Otherwise, they risk falling into a trap. What’s your take?

From the Journal: A group of Warner Bros. Discovery executives gathered in a conference room at The Beverly Hills Hotel last spring to discuss a hard truth: Their Max streaming service was kind of a letdown. It wasn’t considered a must-have or utility service, like Netflix and Amazon Prime, but more of an add-on item, a strategy officer told the team, including Chief Executive David Zaslav and Casey Bloys, who runs content for HBO and Max. “We said, ‘OK, we’ve got to sort of refocus our bull’s-eye,’” said JB Perrette, CEO and president of global streaming. Warner has spent the past year picking apart and rebuilding Max, turning it into one of the company’s relative bright spots. The #entertainment giant, born out of a 2022 merger between AT&T’s WarnerMedia and Discovery Communications, has struggled to convince investors it is on the right track. The company’s stock is down about two-thirds since the deal. Max added 20 million subscribers in 2024 to finish the year at 117 million globally, and expects to hit 150 million in 2026. When Zaslav unveiled plans for the Max streaming service two years ago, he declared, “this is our rendezvous with destiny.” That destiny, as he laid it out at the time, was to be “the place every member of the household can go to.” It offered critically acclaimed fare from HBO, popular reality shows from Discovery’s cable networks and lots of children’s programming. But most consumers already had a #streaming service for every member of the household. It was called Netflix. “What people want from us in a world where they’ve got Netflix and Amazon are those things that differentiate us,” Bloys said. After the Beverly Hills meeting, Max dropped its focus on children’s programming, acknowledging it couldn’t break through with young viewers already glued to Netflix and Disney+. A lot of Discovery Inc’s unscripted shows, from channels such as Food Network and HGTV, also weren’t moving the needle for Max. There is less of that on the platform now. And while live #sports were initially available on the lower priced ad-supported version of Max, now only those with the premium-subscription tier can get baseball, basketball and other sports. Max’s second life is more streamlined, with adult-oriented content and true-crime offerings. And HBO’s highly anticipated “Harry Potter” series is scheduled to debut in 2026. “We’re not fighting for the more-is-better game,” Perrette said. “We’ll let others deal with the volume.” One key part of Max’s makeover was a bundling partnership it launched with The Walt Disney Company last summer in which subscribers can purchase Max, Disney+ and Hulu at a significant discount to their respective stand-alone prices. It has been a major subscriber driver, with high retention rates, and Warner executives have said they are eager to extend the partnership overseas. https://lnkd.in/eK5kXdvR

Tyler Perry has decided to halt the planned $800 million expansion of his Atlanta studio, citing concerns over the rapid advancements in AI, particularly OpenAI’s text-to-video tool Sora. This decision reflects his apprehension about the potential impact of AI on the film industry, including the risk of job losses across various sectors, from actors to technical crews. Despite recognizing the utility of AI in filmmaking, such as aging himself in post-production and the possibility of creating sets through text, Perry emphasizes the need for regulations to protect jobs and maintain human involvement in the creative process. His concerns extend beyond the film industry, urging a comprehensive approach involving the entertainment industry, government, and other stakeholders to address the challenges posed by AI advancements. OpenAI’s Sora has sparked discussions about the realism of AI-generated videos and their potential to contribute to misinformation and disinformation. While Sora is only in its beta test phase, it’s clear that we are extremely close (months to a few years) away from AI-based applications that will enable users to simply describe the video they want to see and get usable results. I’m calling this “social production.” Whatever you think social media did to media, that’s what social production will do to production. People with absolutely no training in audio/video production will simply describe what they want to see and hear. AI will do the rest. Tyler Perry is right: the leap from professional production to social production will profoundly impact professional production companies. Consumer tastes will change, distribution will adapt, etc. Pausing this expansion is prescient because B2B AI tools (professional production tools enhanced by AI) are being incorporated into every workflow and process so quickly that it’s impossible to think that existing movie or video production methodologies won’t be radically changed over the next few years. Please note that I’m talking about movie and video production, not film and TV production; if you think of this story in the context of F/TV, you are looking at the future through a lens from the past. #TylerPerry #AI #ArtificialIntelligence #SocialProduction #TV 

Here's my take from #MIPCOM 2024: less budget and an industry wary of risk offers opportunities for social media. Instead of starting new, untested content, companies are betting on the power of IP. Tried-and-true franchises, procedural dramas, and nostalgic formats dominated discussions, signaling a "reuse over release". The market’s leaning toward safer, more bankable content isn't just about cost-cutting—it’s an opportunity to maximizing engagement across all platforms. This 360-degree approach leverages every angle, from streaming to social media, transforming IP into something more than just content; it’s a brand experience. 📝 Key Takeaways 1. Shift in Scripted Programming: TV buyers increasingly favor procedurals and high-volume, returnable series over costly, tentpole dramas. This shift, influenced by post-strike production costs, aims at maintaining steady, reliable programming with less financial risk. 2. Social Media & 360-Degree IP: Studios are putting an even greater emphasis on building multi-platform experiences. A good show now reaches beyond the screen, weaving through social media, merchandise, and events to create a fully immersive IP. This strategy amplifies engagement and drives brand loyalty while offering a cost-effective way to extend the lifecycle of content. 3. Nostalgia-Driven Formats: Studios leaned into nostalgia, with Warner Bros. launching Harry Potter: Wizards of Baking and Friends game shows, and Mattel selling a TV version of Pictionary. Nostalgia-based formats are in demand as they offer familiar content with a proven audience base. 4. European TV's Growing Influence: U.S. buyers are now contributing less to funding, with more European shows filling the gap. U.S. funding for global shows has decreased from 80% to around 20%, with European models proving more cost-effective. 5. Hollywood’s Cautious Return to Sales: Paramount, Disney, NBCU, and Warner Bros. resumed international sales but with limited budgets. Many are cautious in investing in new originals, focusing instead on re-selling existing, well-known franchises. 6. Decline in Attendance: MIPCOM 2024 attendance dropped by nearly 5%, to 10,500. This was attributed to smaller delegations and tighter budgets, though evening events and networking opportunities remained robust. 7. Ongoing Popularity of Dating Shows: Shows like Stranded on Honeymoon Island continue to attract international interest, showing that dating formats remain popular and adaptable across different markets. 8. High Demand for Cozy Crime: Procedural and cozy crime genres were in high demand, with shows like Whitstable Pearl and Doctor Foster leading format sales, underlining the appeal of low-stakes, familiar storytelling in uncertain economic times. Did I miss anything, what did you learn in Cannes? Let us know in the comments 👇 #socialmedia #media

What if the next move in Hollywood isn't about going bigger, but about deliberately operating smaller? Warner Bros. Pictures just launched a new film label, and it's not another blockbuster machine. It's the opposite of that, and the move says a lot about where part of the industry is heading. The label is called Clockwork, announced this week at CinemaCon in Las Vegas. The name isn't casual: beyond the obvious Kubrick nod, it carries the idea of surgical precision — from project selection to release strategy. To operate that way, Warner went straight to the source, recruiting three executives directly from NEON, the independent studio that won last year's Best Picture Oscar with "Anora." The first project is already announced: "Ti Amo!", Sean Baker's next film, set for 2027. What makes this interesting is what it reveals about Warner's current position. The studio has had a strong run recently: 11 Oscars in 2026 alone, US$ 4.4 billion in global box office in 2025, 33% growth compared to 2024. And yet, strong results aren't enough when the underlying business model of an entire industry is being challenged. The logic Warner wants to replicate is what Neon and A24 spent years building: modest budgets, high return potential, sharp curation, guerrilla marketing, and a brand that became a quality signal before any trailer drops. "Moonlight," "Parasite," "Everything Everywhere All at Once" — all Best Picture winners, all products of this same approach. In "Anora"'s case, the awards campaign alone cost three times the film's entire production budget. And it was still worth it, because the real return doesn't come from the box office, but from what the win does to the brand, and from the licensing, streaming, and home entertainment windows that follow. That brand equity is the core of the strategy. When audiences see A24 or Neon on a poster, they already know what to expect, and that pre-built trust dramatically reduces the cost of finding an audience. It's what turns a film label into something closer to a franchise, without ever making a franchise film. The irony is that Warner is adopting this playbook precisely as A24 — the company that wrote it — seems to be moving in the opposite direction, launching bigger, more expensive productions above the US$ 50 million mark. Meanwhile, the major studios are trying to bring the independent logic in-house. Both sides are crossing the same line from different directions. Perhaps the smarter question is no longer "big or small?" but "what kind of curation, and who trusts you enough to follow it?" If you want to follow the business behind the entertainment industry more closely, I write about this every week. Worth a follow. #EntertainmentIndustry #FilmIndustry #Hollywood #Cinema #MediaBusiness #ContentStrategy #FilmDistribution #Streaming #BusinessOfEntertainment

The 10x Shift In The Indie Film Industry The next wave of film industry wealth won't come from betting on individual movies. It will come from building systems that transform how independent films are funded, created, and distributed. While Hollywood studios fight over streaming subscribers and slash budgets, a silent revolution is happening in independent film. The old model of film investment - betting on single projects with binary outcomes - is being replaced by something more powerful. Instead of gambling on individual movies, visionary investors are building systems that generate returns through IP ownership, audience building, and scalable distribution. This isn't theoretical - it's happening. Angel Studios built a platform that turned a ~$15 million investment in "Sound of Freedom" into over $250 million in box office revenue alone. A24's early investors didn't just back films - they helped build a trusted brand. That's the difference between 2x thinking (making a movie) and 10x thinking (building a system). Look at how successful independent film companies operate today. While traditional independents chase better equipment or more efficient processes - incremental improvements that might double output - the real innovators are building new frameworks for how films get made, funded, and distributed. They're not just making movies; they're creating sustainable ecosystems where each success feeds into the next. To understand this, we need to recognize two fundamental roles: the architect and the operator. The architect creates and owns IP, builds businesses, and develops systems. The operator - whether producer, director, cinematographer, or editor - brings projects to life through skilled execution. Wealth accumulation in film shows a clear pattern. Architects consistently capture the largest share of value. This isn't about talent - some of the most skilled people in film are operators. It's about positioning and leverage. True magic happens when architects, operators, and investors align their vision. This alignment rarely happens by accident. It requires architects who understand how to build scalable systems, operators committed to mastering their craft, and investors who see beyond the traditional model of "one film, one return." This represents a complete reinvention of film investment for investors. While most gamble on individual projects, early adopters of this model are building portfolios of IP, scalable distribution systems, and loyal audiences that generate returns across multiple revenue streams. Companies like Angel Studios, NEON, and A24 are not just making successful films - they are creating the infrastructure for the next generation of independent film. This transformation is underway. Will you help build the future of independent film, or watch from the sidelines as others reshape the industry? Learn how we're crafting profitable indie films at craftsmanfilms.co/fund

I stayed through the credits of BUGONIA last night and saw something I’ve never seen before: “AI Training.” Most people would miss it. I didn’t. I googled it and I couldn’t find anybody talking about it. I reached out to a friend who works a ton of studio films and they confirmed AI was already a major part of the pipeline (VFX, color, data). Not “someday.” Not “experimental.” Already happening. Then a 30+ year industry veteran told me something even bigger: A company she works with is buying finished films purely to train AI how to MAKE films. Not distribute them. Not license them. Train AI. So let’s stop pretending this is theoretical. AI isn’t coming to filmmaking. It’s already here, quietly, behind the scenes, without transparency or consent from most of the creatives whose work is being used. At Dreamland Studios and the American Film Association, we’re not anti-AI. We’re pro-transparency. And we believe filmmakers deserve to know exactly how their work is being used to train the next era of cinema. So here’s the real question: -Is this innovation… or a line being crossed? -Should AI be allowed to train on films without clear consent? -Where do YOU draw the line? Filmmakers: this is your industry. Speak now, or someone else will shape the rules for all of us. Feel free to message me to learn more about what Dreamland and the AFA are doing to help filmmakers! #DreamlandStudios #AmericanFilmAssociation #AIInFilm #FutureOfCinema #CreatorsFirst

🎬 The potential Future of Film Finance Is Shifting and Filmmakers Need to Be Ready For years, we’ve relied on the same playbook: pre-sales, tax credits, soft money, private equity, and a prayer. But the landscape is moving fast, and the filmmakers who adapt now will have the advantage. Here’s what’s coming and why it matters to you: 1. Your Audience Will Become Your Investors Crowdfunding is maturing into something more powerful: equity participation, fan-owned IP, and community-backed financing. The people who love your work may soon be the people funding it. 2. Transparency Will Win Deals Smart contracts and clearer revenue tracking mean investors expect reliable reporting. Filmmakers who build transparent systems from day one will raise money faster and keep partners longer. 3. Brands Are Becoming Real Partners Brands aren’t just buying placements anymore. They’re co-financing films that align with their values. If your project has a world a brand can live in, there’s opportunity waiting. 4. Proof-of-Concept Will Drive Budgets Instead of trying to raise everything upfront, filmmakers are using shorts, scenes, and micro-budgets to unlock the rest. Think modular financing, not “all or nothing.” 5. Specialised Funds Will Open New Doors Genre funds, regional funds, and mission-driven micro-investors are emerging globally. If you have a clear identity as a filmmaker, you have more entry points than ever before. 6. IP Strategy Will Matter as Much as Story Studios, streamers, and investors want projects that can live beyond a single film. If you build a world not just a script you build value. The future of film finance isn’t restrictive. It’s flexible, creative, and built for filmmakers who understand how to blend art with strategy. This next decade belongs to the builders. #FilmFinance #IndieFilm #Filmmaking #ProducersLife #FilmIndustry #CreativeEconomy #FilmFunding #ContentCreators #FutureOfFilm #IndependentFilm

The future of storytelling has arrived and if you hated what Netflix did to cinema, you might not like what's coming... For over a hundred years storytellers have chased the wide shot. Building bigger screens and broader canvases to contain even wider worlds. The dream was to make cinema an act of expansion and a shared experience that stretched across vision and sound. But the way people watch has quietly turned. In fact it's turned ninety degrees. Stories aren’t consumed in theatres anymore. They’re consumed in the light, upright, in motion and held inches from the face. The new frame isn’t horizontal. It’s vertical. Before you dismiss it as a creative fad, look at the economic facts. People use their phones vertically 94% of the time. It's now instinct. This means the stories designed to fill that format aren’t stealing attention; they’re meeting it where it already lives. Platforms like TikTok, Instagram Reels, YouTube Shorts, and Snap Inc. have built the most powerful distribution engine in history around this simple ergonomic truth. A well-crafted vertical story can reach 50 million viewers in a single day. By comparison, even a successful feature film might need a month to reach the same number. That is the new math of the attention economy. The camera has turned upright because the audience has. So that's where the studios are going. Netflix has teams producing vertical first cuts. Paramount Pictures and The Walt Disney Company are building entire campaigns and narratives in portrait mode. Warner Bros. Entertainment uses vertical storytelling as both teaser and test market. What once began as marketing collateral has become a legitimate creative frontier. And the business case is ruthless and simple: this is where the eyeballs are. It costs less to make, it reaches further, and it delivers data in real time. A film studio used to wait for an opening weekend to learn if a story connected. Now they can test a character, tone, or storyline in twenty seconds and adjust by morning. And ironically, this shift may be what saves storytelling from its own fragmentation. A phenomenon referred to as second screen viewing. This is the well established viewing habit that splits attention between television and phone; a fractured audience. But vertical storytelling is teaching studios how to heal it, by building stories that work within the very device that fractured it. The phone is no longer the distraction but rather the destination. It’s the diversification of attention and storytelling through a new medium. I'm sure the future of storytelling will still be cinematic. It's just that the cinema fits in your pocket now.

Warner Bros. Discovery is splitting in two — and it’s not just corporate drama. It’s a strategic shift that reflects the future of media. One company will now focus fully on streaming and content production (think HBO Max, original films, and digital series). The other will handle traditional TV networks like TBS, TNT, and Discovery. Why does this matter? Because one company can’t play both games anymore. Streaming demands innovation, fast pivots, and global competition. Traditional TV is shrinking, weighed down by legacy costs and declining ad revenue. By separating the two, Warner is telling the market: Old media and new media now require different strategies. For filmmakers and producers, this is a signal: Who you pitch to will change. What gets greenlit may shift. And distribution decisions will get more fragmented. This is part of a bigger wave. Paramount and Comcast are restructuring too. We're watching the breakdown of the "one-stop shop" era — and the rise of specialized media engines. If you’re in entertainment, keep your eye on these moves. They're shaping the new rules of the industry. #WarnerBrosDiscovery #StreamingStrategy #FilmIndustryNews #ContentSplit #TVvsStreaming #EntertainmentBusiness #ECOAgency #FilmmakerInsights #HollywoodTrends #MediaRestructure #ProductionStrategy