Jonathan Glazier Media

02/01/2025

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26/12/2024

M. Night Shyamalan’s most recent film is Trap, a psychological thriller released in theaters on August 2, 2024.  The film stars Josh Hartnett as Cooper, a father who takes his teenage daughter, Riley (played by Ariel Donoghue), to a pop concert. Unbeknownst to them, the event becomes the center of a dark and sinister occurrence. The concert features pop star Lady Raven, portrayed by Shyamalan’s daughter, Saleka, marking her acting debut. 

Trap has received mixed reviews from critics and audiences. Some deranged critics praise it as one of Shyamalan’s best thrillers, filled with surprises, while others rational people point out deficiencies in content and form. As of October 25, 2024, the film is available for streaming on Max and other video-on-demand platforms.

It is worse than a made for tv movie. The script is diabolical, to call Hayley Mills performance mechanical is rather understating how truly awful it was. And how dreadfully mis cast she was. The entire premise was unbelievable and anyone with half a brain would have guessed the twist in the first 10 minutes of the the film.

Utterly awful from a film maker yet to produce anything of note yet a person who seems to have a reputation as a modern Hitchcock, I simply don’t get it.

24/12/2024

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16/12/2024

“30,000 Jobs vs. 70% Unemployed: Can Both Be True?”

Many of you may have read the article I posted earlier today about the booming film and TV industry and the staggering claim that streaming giants are creating tens of thousands of new jobs. But perhaps you’re asking the same question I am: How does this square with reports of 70% unemployment across the industry?

This contradiction sparked my investigation into the deeper truths behind these headlines. Are the job creation numbers inflated? Or does the unemployment statistic reflect a broader, systemic issue within the industry? My upcoming report dives into the facts, the figures, and the untold stories of freelancers and creatives caught in this paradox.

Stay tuned for the full article, where I explore whether the industry’s boom is masking a much darker reality. Is one report wrong—or could both be true?

📢 Let’s discuss: What’s your experience in the industry right now? Are you seeing more opportunities, or is the freelance reality harsher than ever? Let me know in the comments.

🔗 Full article coming soon.

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16/12/2024

https://www.linkedin.com/pulse/netflix-perfect-storm-jonathan-glazier-0ic4e

Netflix: A Global Strategy with Local Impact 🌍 Netflix’s rise as a global streaming giant isn’t just about scale—it’s about its ability to resonate locally. The company’s massive investments in regional productions have driven both subscriber growth and content success.

15/12/2024

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14/12/2024

The final Melt Down of Linear TV?

Warner Bros. Discovery’s decision to split its linear and streaming divisions feels like the clearest sign yet that the era of linear TV is drawing to a close. This isn’t just a strategic restructuring—it’s a recognition that linear TV and streaming have fundamentally different futures.

For decades, linear TV has been a cornerstone of broadcasting, but the trends are undeniable. Streaming is where audiences are going, and increasingly, where advertisers are following.

While linear TV may cling on in certain markets—perhaps in regions with limited broadband access or where traditional viewing habits are deeply ingrained—it’s hard to see it surviving in the long term. The first dominoes to fall are likely to be ad-supported networks in hyper-competitive markets like the US.

Public broadcasters, however, face even harder choices. Could this be the moment for the BBC to fully embrace its digital future and go total iPlayer? With iPlayer already a powerhouse of on-demand content, why not take the leap and redefine the public broadcaster as a fully digital service?

This feels like a pivotal moment for our industry. Linear TV may have served us well, but clinging to the past risks holding back innovation and audience engagement.

What do you think?
• Where will linear TV disappear first, and where will it fight to survive?
• Could this be the ultimate solution for the BBC and other public broadcasters?
• How should we as producers, broadcasters, and creatives adapt to this inevitable shift?

Let’s discuss.

14/12/2024

New Post: How Did Korea Smash the Format World? https://buff.ly/3VwR33F

14/12/2024

Updated Post: Altmedia Weekly: East Meets West – How Asia and the West Are Rewriting Content Distribution https://buff.ly/4gxQrCW

13/12/2024

New Post: Altmedia Weekly: East Meets West – How Asia and the West Are Rewriting Content Distribution https://buff.ly/4gxQrCW

13/12/2024

How Did Korea Smash the Format World? This is the last but one alt.media newsletter before Christmas and my final one written from Singapore. First, an apology for the recent lack of posts—I’ve been knocked for six by a respiratory virus that took hold last weekend. I’m on the mend, but still far from 100%....

How Did Korea Smash the Format World? This is the last but one alt.media newsletter before Christmas and my final one written from Singapore. First, an apology for the recent lack of posts—I’ve been knocked for six by a respiratory virus that took hold last weekend. I’m on the mend, but still ...

13/12/2024

How Asia and the West Are Rewriting Content Distribution. This week, Jonathan dives into the buzz surrounding Content London 2024, ATF 2024 in Singapore, and the Asian Academy Creative Awards. The events highlighted the growing divide between Asian and Western strategies for distributing content—and how the global industry is adapting to new challenges and opportunities. Diverging Paths in Global Content Distribution: How Asia and the West Are Rewriting Content Distribution…...

How Asia and the West Are Rewriting Content Distribution. This week, Jonathan dives into the buzz surrounding Content London 2024, ATF 2024 in Singapore, and the Asian Academy Creative Awards. The events highlighted the growing divide between Asian and Western strategies for distributing content—a...

09/12/2024

Review: Black Doves (Netflix)

Full transparency: I am loving this. Sure, Episode 3 is weak in my opinion—certainly the first half. Ironically, given what I’m about to write about the relationship at the heart of the series, Episode 3 is about that very relationship and how it developed over the years. But that aside, read on.

Black Doves is an ambitious dive into the spy-thriller genre, carried on the shoulders of two standout leads, Keira Knightley and Ben Whishaw. While the series boasts intriguing characters and occasional moments of brilliance, it falters in delivering a truly groundbreaking narrative. For a show that sets itself up as a fresh take on espionage, it often leans too heavily on well-worn genre tropes.

At its core, Black Doves shines brightest when exploring the platonic yet deeply layered relationship between Knightley’s Helen and Whishaw’s Sam. This pairing is the heart of the series—bringing warmth, tension, and unpredictability to an otherwise formulaic political conspiracy plot. Their dynamic is a refreshing departure from the tired romantic subplots that often plague similar stories. It’s in these quieter, character-driven moments where the series truly finds its voice.

From a production standpoint, Black Doves excels in atmosphere. The festive London backdrop adds a unique, almost ironic cheer to the murky dealings of spies and assassins. The cinematography captures this duality beautifully, creating a setting that feels alive and purposeful. However, the pacing is inconsistent; the first episodes meander, while the finale feels like a rushed attempt to tie loose ends and set up a second season.

The script has moments of sharpness, particularly in its comedic beats, which are rare for the genre and provide a welcome sense of levity. However, these moments highlight a deeper issue: the series struggles to decide what it wants to be. Is it a character study? A political thriller? A caper with heart? The tonal shifts, while interesting, leave the story feeling unfocused.

For industry professionals, the series is a study in the power of casting and chemistry. Knightley and Whishaw elevate every scene they’re in, demonstrating how strong leads can anchor a project even when the material isn’t always firing on all cylinders. From a format perspective, Black Doves has potential—it introduces enough intrigue and likable characters to justify a return. The challenge for future seasons will be refining its identity and finding a stronger throughline for its overarching plot.

Verdict: Black Doves is worth watching for its stellar performances and unique take on character relationships within a spy thriller. However, it’s not the genre-defining series it aspires to be—at least, not yet. With more focus and better pacing, it could grow into something truly special.

07/12/2024

As of December 7, 2024, the U.S. Court of Appeals for the District of Columbia Circuit has upheld a law requiring ByteDance, TikTok’s China-based parent company, to divest its U.S. operations by January 19, 2025, or face a nationwide ban. This decision stems from national security concerns regarding potential data access by the Chinese government. TikTok plans to appeal to the U.S. Supreme Court, arguing that the law infringes on free speech rights. The outcome could significantly impact TikTok’s 170 million American users and its substantial advertising revenue. 

05/12/2024

Japan Shines at the 2024 Asian Academy Creative Awards

Last night, the 2024 Asian Academy Creative Awards celebrated the best in Asia-Pacific content creation, and Japan emerged as a standout winner! With an impressive ten Golden Goddess statuettes, Japanese productions showcased their storytelling excellence and production quality.

🏆 Key Wins for Japan:
• Best Actor in a Leading Role: Ryohei Suzuki for City Hunter
• Best Comedy Performance: Ryohei Suzuki for City Hunter
• Best Feature Film: City Hunter
• Best Single Drama/Telemovie/Anthology Episode: Deaf Voice: A Sign-Language Interpreter in Court

The night also highlighted Netflix’s dominance with 11 wins, Warner Bros. Discovery with six, and NHK securing four. Singapore’s Mediacorp also stood out, taking home three awards.

This year’s awards reaffirm the incredible creativity and innovation happening across Asia’s entertainment industry. Congratulations to all the winners and nominees! 🎥✨



Would you tune in to watch City Hunter or Deaf Voice? Share your thoughts below! ⬇

03/12/2024

Thinking of all my many friends and colleagues in South Korea 🇰🇷 I hope you are safe and your beautiful country finds peace and stability again soon.

03/12/2024

🎥 The Top 10 TV Formats by Popularity 🎥
These TV giants have captivated audiences across the globe, changing the way we experience entertainment. From nerve-wracking lifelines to groundbreaking social experiments, these shows are more than just TV—they’re cultural phenomena. 🌍✨

📺 Here’s the full list of legends:
1️⃣ Who Wants to Be a Millionaire?: High-stakes questions and unforgettable lifelines.
2️⃣ Got Talent: A stage for talents of all kinds, adapted in 69+ countries.
3️⃣ Big Brother: The ultimate social experiment in a confined space.
4️⃣ The Voice: Blind auditions that let raw talent shine.
5️⃣ Idols (e.g., American Idol): The megastar-making machine.
6️⃣ Survivor: Alliances, strategy, and survival in the wild.
7️⃣ Dancing with the Stars: Celebs learning to dance—and inspiring millions.
8️⃣ Deal or No Deal: Nerve-wracking briefcase decisions.
9️⃣ The X Factor: Discovering talent and creating global superstars.
🔟 Dragons’ Den/Shark Tank: Turning business dreams into reality.

🌟 These formats have defined TV history through global reach, cultural impact, and unforgettable moments.

🚨 Which of these is your all-time favorite? Tell us in the comments!