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Perspective

Viewpoints from leading players in the business that put the global content business in perspective.

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LATEST IN THIS CHANNEL

Germany's never-ending reform saga: More posters, fewer decisions

Three of the most talked-about content trends – beyond the hype

Real partnerships with travelogue talent go a long way

Funding and R&D support can rescue UK kids' content

Unmasking the next Korean or Japanese hit

Liberating or limiting? Aardman's Sarah Cox on AI in animation

How the industry became vertically challenged

Drama waves farewell to TV

It's time to get macro on our micro

FAST's future: turning challenges into opportunities

Charismatic.ai’s Guy Gadney on embracing AI

The one where we realised we all grew up

Why the kids' sector isn't dead yet

'Brandom' – the quiet/loud revolution

Supporting Shorts: a gateway to inclusive practice

How Colombia is reimagining itself

We've been here before: Learning from [.tv] as we face the AI revolution

Nordics take step towards a greener audiovisual industry

We get the markets we deserve… and parasites are killing them

How did kids' TV come to this?

The post-Mipcom debrief: I’ll message you!

Of AI and men – reflecting on tech at Venice film festival

Making the leap from feature films to working in kids’ TV

How to make longform branded content for TV

Germany's drama dilemma: Passion versus policy gridlock

How brands can adapt to find their consumers in 2025

Assembling the jigsaw

Money talks: How to get investment ready

Is 2025 shaping up to deliver the digital wild ride it promised?

Money talks: Should you consider investment?

Stop asking who's attached, start asking what's possible

Formatland 101: A very British explanation of our international industry

How to develop stories that travel without losing their soul

Children's documentary: A call to preserve real stories

Germany’s €250m funding boost: A game-changer with strings attached

CMF's Colin Ward on an opportunity for change

A TV with wings and other creatures: Kids reimagine their viewing future

Transforming sports documentary distribution through aggregation

Building a digital-first strategy on value-driven entertainment

Colm Tobin on Maddie + Triggs as a force for change

How to prepare for immigration reforms under the UK Industrial Strategy

BriteSpark Films' Tom Porter names his top five current affairs docs

Live long and prosper in Formatland

Content's year of crossing Rubicons

Redefining how the world sees Africa through storytelling

Two years after Sky’s ‘content bombshell,’ RTL seals the deal in Munich

Time to look for profit through a green lens

A bruising week for BBC, PBS and funding snobs at Doc/Fest

My Latin love affair with Conecta

In search of a funny side to climate change

Goodbye to All That: A sad farewell to broadcasting giant Alan Yentob

Why Channel 4’s in-house move isn’t a death knell for indies

Channel 4 attempts to square the circle

Can a kids' original break through in an algorithm-driven world?

What the rise of social media really means for TV – and what we can do about ...

Can the Arab world be the next big export powerhouse?

Shut up and dance: A guide to dating in the new kids’ content world

The PUSH and pull of Paris in the spring

Life advice for Formatland

Blessed are the dealmakers in the new content business

RTL+ vs Joyn: the battle of the boasts

Mapping out new routes to feature doc audiences

Transforming production with innovation, AI and efficiency

How a rejuvenated Zig Zag found a new direction

GenAI won’t save storytelling, but it might save the storyteller

The future of UK animation: a global leader at a crossroads

Selling formats: Can we manifest success?

Analysing ProSiebenSat.1’s high-stakes balancing act

The cost of UK broadcasters’ new love of reboots and imported formats

Sony vs CBS: The battle that should shake distribution

Short and sweet: welcome to the year of snackable content

YouTube in pole position for 2025’s wild ride

Our kids are already at home in digital worlds

The making of The Last Musician of Auschwitz

Lat Am: who dares to lift the lid on Pandora’s box?

Why it's time to 'come alive' in '25

Germany’s TV and film industries face rising challenges and a need to reform

Congress puts future of factual in the spotlight

The battle for originality in an infinite IP world

Why investing in content remains a streaming priority

Sweet streams: Jam Media is awake to preschoolers' needs

True crime and the importance of duty of care

The revolution is not being televised

Mipcom 2024: positives in a changing content economy

The great Cannes catch-up

Redefining family content for the multi-screen generation

Stop, collaborate and listen: weathering the storm through coproduction

Live-action children's content with global appeal is not a lost art

BBC Children’s & Education: Why do we care?

Standing up for children’s TV in the UK

This is Africa’s time to tell the stories

Spider-Man vs the Justice League in the battle for Formatland

Factual needs to grow out of this cycle of repetition

Time to reverse the skills brain drain

Channel 4's algorithm method in action

Crisis to capitalisation: the bright side of distribution in 2024

Avoiding the icebergs to land a non-scripted commission

Three strikes and you're out: IATSE talks raise new fears

Why traditional TV should take notice of the $100m Dude Perfect deal

Time to bid au revoir to MipTV