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Theater marketing is evolving—will Actors' Equity Association keep up? There’s an incredible wave of young theater marketing content creators emerging across all social media platforms, pushing hard to bring this so-called “dying art form” into the digital age. But despite their best efforts, real progress won’t happen until Actors' Equity Association (AEA) joins the conversation. Just ask any producer who’s ever tried to shoot a :30 or :60 promo video for an AEA production—the restrictions and costs can be staggering. Meanwhile, other industries are thriving in the digital space because they recognize a simple truth: We all carry a production and broadcast studio in our pockets. 🔹 Motorola introduced its first mobile phone in 1984. 🔹 Today, 98% of Americans own a mobile phone. 🔹 91% own a smartphone. Smartphones aren’t just for communication—they’re the engine of modern marketing. Yet while industries across the board are capitalizing on short-form video and digital-first engagement, the theater world remains stuck in outdated models, clinging to fears of dwindling audiences and competition from streaming and social media. But here’s the thing: Theater isn’t competing with Netflix, TikTok, or video games—it’s competing for attention. And in today’s landscape, that attention is won through engaging, shareable content that meets audiences where they already are: on their screens. The transformation is happening. Content creators like Katharine Quinn and others are proving that theater marketing can be bold, fresh, and effective. But for real change to take hold, the industry—AEA included—must embrace a new, digital-first reality. How long will it take for theater to finally turn this corner? What are your thoughts about it. #TheaterMarketing #ActorsEquity #ContentMarketing #DigitalTransformation #TheaterIndustry #MarketingInnovation

Blumhouse Head of Physical Production Lisa Niedenthal participated in a panel for Variety and the Hollywood Chamber of Commerce called "Driving A Path Forward for the Entertainment Industry." Michael Schneider, Variety’s television editor, moderated the panel that included other top film and TV executives, including David Eilenberg of Roku, Jamila Hunter of Macro Television Studios, DanTram Nguyen of Searchlight Pictures, and Allison Wallach of Fox Entertainment.

J.J. Abrams’ "mystery box" concept, while not directly linked to the rise of multiverses in cinema, shares thematic and structural parallels with the way multiverses and superhero/comic book storytelling have evolved. Here's how the connections can be drawn: The Mystery Box and Storytelling Abrams’ mystery box philosophy emphasizes the power of intrigue and unanswered questions to sustain audience engagement. This approach focuses on layering mysteries within a story, encouraging curiosity and speculation. While Abrams’ mystery box isn’t inherently about multiverses, its reliance on expanding possibilities and deferring resolution aligns conceptually with the appeal of multiverses in cinema: offering endless narrative potential. Thematic Connection to Multiverses Infinite Possibilities: The mystery box thrives on the unknown—just as multiverse storytelling capitalizes on the "what if" scenario. Multiverses provide a canvas for filmmakers to explore alternate realities, just as a mystery box teases the idea of hidden truths waiting to be uncovered. Interwoven Stories: The multiverse concept encourages layered storytelling with interconnected plots and characters, similar to Abrams’ approach in Lost or Fringe, where mysteries unfold across multiple timelines or dimensions. Superhero/Comic Book Subgenre Complex World-Building: Superhero films, particularly in the Marvel Cinematic Universe (MCU) and DC Extended Universe (DCEU), often embrace expansive, interconnected narratives. Abrams' mystery box echoes this complexity by ensuring every reveal hints at deeper connections—something that is now a staple of superhero storytelling. Audience Engagement Through Speculation: The MCU and DCEU thrive on fan theories and audience speculation, much like the mystery box model. For instance, films like Doctor Strange in the Multiverse of Madness or Spider-Man: No Way Home rely on the multiverse framework to generate excitement and discussions, akin to Abrams' Lost, where unanswered questions kept audiences hooked. Impact of Abrams’ Philosophy While Abrams didn’t directly create or influence multiverse storytelling, his mystery box popularized the idea of storytelling as a layered puzzle. This philosophy likely influenced narrative strategies that appeal to audiences' desire for interconnectedness and surprises, which are central to multiverse narratives and the success of comic book adaptations. The multiverse concept builds on this by offering a literal representation of endless possibilities—each universe or timeline serving as another "box" waiting to be opened. The Bottom Line Abrams’ mystery box laid groundwork for a form of storytelling that encourages speculation and rewards curiosity, concepts that multiverses and superhero franchises have adopted and amplified. While it wasn’t a direct precursor to multiverses, it certainly shares a kindred spirit with the narrative strategies that have made multiverse and comic book films so successful.

The tenure of J.J. Abrams’ Bad Robot at Warner Bros. Television will hit the 20-year mark. After months of negotiations, the company has closed a new film and TV deal with Warner Bros., sources tell Deadline. The pact is believed to be two-year, first-look, non-exclusive in both areas. More details here: https://lnkd.in/gv-JsSKy

From Acting to Diversity: My Journey in Television Join me as I share my journey from acting to embracing diversity on television. Learn how channels are opening up to represent everyone in the country, and how I found confidence in showcasing my skills. Let's break stereotypes and embrace inclusivity together! #ActingToDiversity #TVRepresentation #BreakingStereotypes #EmbracingInclusivity #TelevisionIndustry #DiversityOnScreen #InclusiveEntertainment #EmbracingChange #RepresentationMatters #TVJourney

AS P.J. O’ROURKE FAMOUSLY WROTE, “YOU CAN’T GET GOOD CHINESE TAKEOUT IN CHINA AND CUBAN CIGARS ARE RATIONED IN CUBA. THAT’S ALL YOU NEED TO KNOW ABOUT COMMUNISM.” And you can’t make movies and TV shows in 2024 Los Angeles, which is all you need to know about the state’s continuing descent into socialism (https://lnkd.in/gJgT-B8U). CALIFORNIA: FROM THE BEST COAST TO THE WORST COAST.

BBC Studios Productions Australia has partnered with Screenwest to bring the production of supernatural comedy GHOSTS to Western Australia. We're thrilled to see Northern Queensland writer and producer Shontell Ketchell, who is in Screenworks' Career Pathways program, is working on this exciting new series as a writer, along with Libby Butler who was a speaker at NQ Forum. We won't be missing this one! Read the full story: https://buff.ly/4hoHexA

All too often, brands focus on talking to businesses rather than the people behind them, and humor is rarely part of the conversation. Maybe it’s because brands equate seriousness with professionalism, or perhaps they’re worried that a bit of edge might alienate their current clients? Either way, it’s a missed opportunity. Taking creative risks in this space can yield significant benefits, and it’s a shame more brands don’t tap into that potential. Luckily for us our Simply Business clients are the best and they didn't shy away from this bonkers idea. Great work from the team at Truant and everyone involved.

excellent realization in traditional media channel👌

Turns out, our roster isn't the only place Director Garrett Marks is featured 👇 Check out the article below to learn more about what inspires the newest addition to our directorial team!