FRESH CLIPPINGS
The Audience Gave the Greenlight
A horror anthology series called Welcome to Exotic Foods is in production, and the way it got made is pretty interesting.
As Jeff Clanagan explains it, Producer Malik Davis and the team at Upscale Productions spent months building the project the right way around: story first, then the workflow. The series uses a hybrid production model where real actors and live direction sit at the center, with AI constructing the environments around them.
The distribution and marketing side came next, and the first move was a test. A hundred Gen Z viewers across five markets watched the trailer and pilot episode and were asked whether it was worth making. The response came back strong. That was the greenlight for the full season.
Not a studio executive’s instinct. The actual audience.
The traditional model develops for executives and meets the audience at the end. This model puts the audience in the room before the full season goes into production.
For independent filmmakers specifically, the implications are significant. one of the barriers that has always constrained independent work is path to audience. Audience testing before full development addresses this. Creators working this way are not waiting on permission, but rather arriving at development conversations with market validation in hand.
The series is still in production, with distribution details to come. But the process is the point.
Producers Are the Missing Piece
Sean Atkins, CEO of Dhar Mann Studios, reflected on the time he left the C-suite at MTV, Discovery, and Bertelsmann to go work for a YouTuber.
People thought he had lost his mind.
AdWeek recently published a piece called Creators Are the New Media Moguls, and Atkins is quoted alongside the CEOs of MrBeast, Babish Media, and JesserCo. His argument is not that the creator economy is overhyped. It is that most people are looking at the wrong part of it.
The headline is easy to read. MrBeast at 500 million subscribers, $21 billion in brand spend projected by 2026, CAA and TPG launching a $250 million fund for creator businesses, YouTube directors grossing hundreds of millions at the box office on shoestring budgets.
What his piece gets at, though, and what Atkins thinks most people skip past, is that the hardest part of turning a creator into a company is operationalizing and building governance. Getting the books clean enough that institutional capital can actually come in. Building the kind of internal structure that survives a platform shift or a deal falling through. None of that is glamorous, and none of it gets written about much. But it is where creator businesses actually succeed or stall.
That is why legacy media experience transfers into this space in ways that are genuinely useful, even if the day-to-day playbook does not look the same. Years of building businesses at scale, managing institutional relationships, and understanding what financial health actually looks like from the inside give you an advantage.
No single business line at Dhar Mann Studios accounts for more than 40% of revenue. That is not an accident. When Atkins builds around a creator, key-man risk is the thing that keeps institutional partners up at night. The answer is building a business diversified enough that no single algorithm change, no single platform shift, and no single deal collapsing can break the whole thing.
The creator economy has plenty of hype. What it needs more of is operators willing to do the less exciting work that makes the exciting stuff last.
Brands Are Devouring Hollywood
The Hollywood Reporter ran a piece this week on something we’ve talked about before, which is the line between advertising and entertainment being essentially dissolved.
The story starts with a meeting between Brian Grazer and GE’s CEO a decade ago. GE wanted Imagine Entertainment to make TV spots. Grazer passed. But when the conversation turned to an anthology series inspired by Thomas Edison and the lightbulb, Grazer was interested. The result was Breakthrough on Nat Geo, with GE as a producing partner. Not an ad. An entertainment program that happened to reflect well on the brand. That project seeded Imagine Brands, which has since worked with Nike, Ford, and Coca-Cola, and is currently developing something with SpaceX.
In the early days of television, brands did not just sponsor shows. They owned them. The Colgate Comedy Hour, Texaco Star Theater, Gillette Cavalcade of Sports. Over the following decades, advertising became something Hollywood talent kept at arm’s length, with the occasional foreign market exception for a check too large to turn down. Now the brands are back, and they are coming with genuine creative ambition and A-list relationships.
What has changed is partly financial and partly cultural. Studios are squeezed. Brands are not. Companies like General Mills and Gap are sitting on marketing budgets that dwarf what many independent productions can raise, and they are increasingly willing to spend those budgets on real entertainment rather than traditional spots. The talent, for their part, has started to recalibrate what participation actually means when the creative quality is there.
Will branded entertainment leave its place as a “lesser version” of the real thing given the roster of talent and studios now involved in this space?
GARDEN VIEW
HARVEST QUOTE
"Hollywood was never going to greenlight Technology Connections. They were never going to feature a guy getting a million views for taking apart toasters. That wasn't going to happen on HGTV."
— Creator Hank Green
Have a great weekend…
Very clear and thoughtful analysis.
Media History is rewriting itself
Going back to same practices: audience trials, brand partnerships and multiple collaborations
Hopefully for entertainment good besides making money