Anna Songco Adamian

Another round of excitement and rebirths to emerge from #Hollywood as #Paramount, the original producer of #thegodfather seeks to re-create itself as a creative-tech hybrid. I am curious to see what the meat on those bones, given the tendency for large companies to use technology at its edges rather than making it a core operational focus. The fact they have now referenced #directoconsumer, #AI, and even #layoffs suggests that they are looking at the right things and understand the difficult challenges for legacy companies to compete in the new era. The fact that David Ellison's father is CEO of Oracle and is part of the deal makes these claims a little more credible. Expect to see more of these #spins as those left reeling from the #streamingwars find their next footing. #innovation

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As Productions Move Abroad, California Gears Up to Battle Film and TV Exodus – The Gloves Are Coming Off! California’s film and TV production game might be down, but it’s far from out! As productions flirt with international locations, the Golden State is ready to throw some heavyweight punches to keep the magic of Hollywood alive. With a powerful combination of tax credits, infrastructure investment, and a homegrown talent pool that’s second to none, California is suiting up to go toe-to-toe with global competitors. Sure, cheaper locations and irresistible international incentives have been stealing the spotlight. But here’s the plot twist: California isn’t just sitting on the sidelines. We’re rolling up our sleeves, ready to “rumble”. The goal? To remind the world that Hollywood is still the undisputed champion of content creation—no matter how far production tries to wander. The future of film in California? Bright, bold, and absolutely worth watching. https://lnkd.in/grDAwWZ3 Entertainment Partners California Film Commission FilmLA Motion Picture Association

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Deepna Devkar, Ph.D. what a treat having you on the podcast! If you’ve ever wondered what goes into building your personalised experience on Max, this is the episode for you. Tune in to hear from one of the minds leading the build of the platform experience!

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California Production Coalition: Fighting to Keep Hollywood Filming in California. https://lnkd.in/g-BtDZgq Entertainment Partners is excited to be part of the California Production Coalition to ensure California remains THE place to film! California has phenomenal resources and over 100 years of experience in productions. Excited to see this coalition being launched today! It's very important to note, Productions in California bring high-paying jobs and economic activity to every part of our state. And I'm proud to be part of the fight to protect that. Are you ready to join the fight for film, TV, and streaming production in California?   Along with nearly early three dozen film, television, and streaming production businesses and associations have formed the California Production Coalition to advocate for policies that strengthen California’s film industry. It’s a pleasure to be working alongside other businesses to improve conditions for filming in our home state. The group, including members like the Motion Picture Association (MPA), Television City Studios, and the Hollywood Chamber of Commerce, aims to address declining production activity, which has been slow to recover after the pandemic and last year’s strikes.   Representing prop houses, equipment leasing firms, payroll companies and other service providers, the coalition is focused on expanding California’s film tax credit program. Their first priority: supporting Gov. Gavin Newsom’s proposal to increase the annual program from $330M to $750M. This expansion could boost local jobs and revenue, building on the $961.5M in tax revenue and over 110,000 jobs supported by the credit between 2015 and 2020, per the LAEDC.   The coalition, which began organizing last summer, aims to educate policymakers and the public on the benefits of keeping productions in-state. They also advocate for reducing red tape to make California more competitive with rivals like Georgia, New Mexico, Canada, the UK and Australia.   With production volumes down 17% globally and reality TV shoots in Los Angeles declining by 56%, coalition members warn of the economic ripple effects on businesses that rely on a thriving production ecosystem.   The coalition’s mission: ensure that Hollywood’s legacy and economic contributions remain rooted in California, while creating a stronger, more competitive future for the state’s film and TV industry.   https://lnkd.in/gxXi4BuQ https://lnkd.in/gxXi4BuQ Entertainment Partners #CaliforniaProductionCoalition #CaliforniaFilmIndustry #TaxCredits #Hollywood #jobs

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JOY RETURNED TO HOLLYWOOD THIS WEEKEND Even better ANXIETY and its ally FEAR were banished! What brought JOY back? 295 million dollar WW opening for Inside Out 2 including estimated 155 from North America Great EXITs- 71 def recommend and A Cinemascore Broad Demos with outsized turnouts from teens, Hispanics and non family audiences Why is Box Office Anxiety finally pushed aside? Despite worries that Pixar brand was damaged by straight to Disney + titles, polarizing messaging and theatrical’s slow summer start, Pixar has their second biggest opening all time behind The Incredibles 2 What tactics propelled this massive win? We at EDO measured and marveled at a campaign that built optimized and expanded at every critical phase The Disney marketing machine excelled with their long length story spots that reignited Nostalgia for the first film’s concept for families The result of getting the family audience job done early was they were able to kick into a high gear opening week using 15 reviews spots as well as villain conflict story spots to bring onboard general audiences that enabled huge walk up business Friday So if you are looking for a little joy, catch this gem of a film that mixes humor, emotion and an ultra intelligent look at what determines sense of self

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Happy Monday! This is not déjà vu — Forbes asked me to share additional thoughts on behalf of The Toy Book regarding Hasbro's earnings and internal reorganization following my thoughts on Mattel last week. Echoing something I said previously, 2025 should be an interesting (and good) year. Read the Forbes piece for the bigger story and context: https://lnkd.in/gpXpUHzm Stay on the #pulseofplay and check out The Toy Book early and often. #toyindustry #toys #toynews #toycommunity #licensing #entertainment #consumerproducts #retail #specialtyretail #insights

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Get a glimpse of TIANA’S BAYOU ADVENTURE and COUNTRY BEAR MUSICAL JAMBOREE in our latest episode!

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The Hollywood Reporter with another great story on The Walt Disney Company's DEADPOOL & WOLVERINE. Thanks for the nod, but have to share the recognition with the entire EntTelligence team!!! "So far, 13.6 million people have bought tickets to see it, on par with last year’s Barbie, which was rated PG-13, according to Steve Buck’s leading research firm EntTelligence. That’s the most foot traffic ever for an R-rated movie. More tellingly, 11 percent of the audience was under 17. R-rated films typically only have 5 percent, according to Buck’s outfit. At the same time, it should be noted that 21 percent of the audience for Marvel’s last five films, all rated PG-13, were under the age of 17, according to an unweighted analysis by EntTelligence. Deadpool & Wolverine showed strength across all age groups — again, to Reynolds’ point — and not just the 18 to 34 crowd, which can make up as much as 60 to 70 percent of a superhero film’s opening weekend. According to EntTelligence, those between ages 18 and 25 made up 21 percent of ticket buyers; 28 percent were between 26 and 35; 33 percent were between 36 and 45; 12 percent were between 44 and 60; and 5 percent were 55 and older." Maximum Effort Marvel Entertainment The Walt Disney Company

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Innovation thrives where differences are celebrated, not silenced. I started my career at New Line Cinema in theatrical, switched to Warner Bros following the value chain into home entertainment, and jumped to Sony Pictures Television at the same time that Netflix went from being my biggest customer (but not the most complicated deal) at WHV to becoming the most important production partner for SPT. At television's peak, I was recruited into Fox where Tubi and a string of studio acquisitions required a guiding hand. ↳ Initially, we thought having one or two different perspectives in the room was enough. Now diverse audiences account for over $250 billion in annual media spending, with 71% of their decisions driven by feelings of inclusivity. Yet many organizations still treat diversity as a checkbox rather than a strategic imperative. This means: • Missing out on massive market opportunities • Failing to tap into diverse talent pools • Losing competitive advantage in a global market • Limiting creative potential and innovation The cost? Companies without diverse teams are falling behind. Here's why: The data is clear: • Diverse teams make 87% better decisions • Companies with diverse management see 39% higher performance rates • Organizations with inclusive cultures are 70% more likely to capture new markets At my organization, we've seen firsthand how diverse storytelling transforms audience engagement and drives innovation. But it starts with action: 1. Setting measurable DEI goals and tracking progress 2. Creating platforms for underrepresented voices 3. Ensuring inclusive content that reflects our audience 4. Building a culture of belonging and respect The future of media belongs to those who embrace diversity not as an initiative, but as their competitive advantage. What steps is your organization taking to foster genuine inclusion? Share your thoughts below 👇

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“How much do artists make per stream on the most popular streaming music services? Here’s a breakdown for Pandora, Napster, Spotify, Apple Music, Deezer, and more (updated for 2022). Based on information directly received from artists and indie labels, as well as various published sources, we can rank streaming music services according to their per-stream rate. So how much do artists make per stream? Given extreme variations in payouts, the answer largely depends on the platform involved. Take a look.” Read the article for the details: #Streaming #Artists #Royalties #MusicRoyaties #Spotify #Napster #Pandora #AppleMusic #YouTube #Deezer #AmazonMusic #TIDAL #Beyonce #JayZ #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #DigitalRights #MusicRights #Songs

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The best 2 to 3 minutes of your life some would say.

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 11/17/24: RED ONE didn't deliver enough green ones to help cure the boxoffice pandemic that began with JOKER 2 in October.   This weekend's only wide studio launch, Amazon/MGM Studios' PG-13 action adventure comedy RED ONE, opened #1 to $34.1M, per Comscore, at 4,032 theatres ($8,451). Produced reportedly for $250M, it was directed by Jake Kasdan (JUMANJI: THE NEXT LEVEL) and stars Dwayne Johnson & Chris Evans. Its debut beats the $30M Hollywood handicappers were projecting Saturday, but it's still nothing for exhibs to feel good about.   Although ONE is a theatrical dud, it will likely work much better for Amazon as a streaming title with The Rock as a superstar magnet for subscriber eyes. ONE can live on for years as a Prime holiday classic -- whether it is or isn't -- for seasonal viewing as streamers doze on couches globally.   Internationally, ONE is being released by Warner Bros. and has done $50M since opening last week to avoid going head to head this weekend with Paramount's Ridley Scott heavyweight GLADIATOR II -- which ki ked off to $87M overseas.   ONE is tracking best for first choice with men over 25 (six points over norm) and next best with women over 25 (three points over norm). Rotten Tomatoes critics hate it at 33%, but audiences are happy at 89%.   While ONE's modest debut can’t be putting smiles on exhibitors' faces, at least they've got bodies in seats eating popcorn and other concession treats. Exhibs have to hold on until 11/22, when Universal/Marc Platt Productions' WICKED opens to what Hollywood buzzards say will be $80M or more. It's tracking best for first choice with under 25 women (13 points over norm). No scores yet on Rotten Tomatoes.   Exhibs' other big hope 11/22 is Paramount/Scott Free Productions' GLADIATOR II. Insiders expect $65M or more. It's tracking best for first choice with men over 25 (16 points over norm). Rotten Tomatoes critics are an okay 75%.   This weekend's domestic marketplace totaled $73.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 2% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $7.08B, down 11.1% from $7.97B in 2023. The previous weekend in 2024 was down 11.4% vs. 2023.   Meanwhile, back at the multiplexes: Sony/Marvel's VENOM: THE LAST DANCE was #2 in weekend four with $7.4M (-54%) at 3,421 theatres ($2,150). It reportedly cost $120M to produce and has done $127.6M domestic.   Lionsgate/Comworld Productions' faith-based THE BEST CHRISTMAS PAGEANT EVER was #3 with $5.4M (-50%) at 3,020 theatres ($1,150). It's done $20M domestic.   Next weekend (11/22): WICKED + GLADIATOR II (see above) should pump a lifesaving $145M or more into domestic theatres.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #redone                

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My friend bought this for me at a Walgreens in Nashville. This is a supplement for Dungeons & Dragons. Hasbro is determined to go "all in on digital" for D&D, citing their success in licensing Monopoly to Scopely and Baldur's Gate to Larian Studios. The Dungeons & Dragons brand and adjacent materials have saturated into non-traditional retail spaces for the brand, which increases every day interactions with that brand. Moving their portfolio away from toys and board games into a digital space will have a profound and long-lasting devastation upon the Hasbro brand in the long term. Hasbro has two problems, debt and shrinking retail. we all know what happened to Toys R Us via private equity. We used to beg to go to Toys R Us like it was a theme park. Now, there's no work for children to go. Toys R Us used to have things like the pokémon card game League and other special events. Now it's just a few sterile isles at Walmart and Target. If I were Hasbro I would approach Mattel and see if they would be a way to go into a joint venture to create test stores to bring back the Toys R Us brand. The complete and utter destruction of any other locations than work, school, and home will have long-term deep negative impacts on American culture, societal health, and camaraderie. Short-term gain tempts many.

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1) This show is awesome - one of my favorites of all time. 2) Pitch perfect balance of staying in-world and being 4th wall enough to know the job of this short is to give everyone an update. 3) Even though the layouts are limited, the animation and directing is getting even better! The acting and poses are so nuanced - just fantastic. 4) Feels like nothing can stop this show. It's almost... https://lnkd.in/ekWPDsYA #animation #cartoons

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😃 Free Comic Book Day Is Saturday, May 4, 2024.👍 As to which comic books, and at which stores; see the description section of the below 27 second video. 😊Please Like/Comment/Share😊 #ScotMcBeath #ComicExcitementConvention #Sales #Management #Leadership #FreeComicBookDay #Shorts #ComicBooks #Comics

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Our second episode of WE CALL IT IMAGINEERING debuts on YouTube tomorrow, check out the teaser below!

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From the Latest FilmLA Report • Scripted TV production in Los Angeles dropped 99% in Q3 2023 compared to 2022. • FilmLA calls for a significant expansion of California’s $330 million production incentive due to a 20% drop in local filming. • Other jurisdictions like New York, Ontario, Georgia, and the U.K. offer more competitive, uncapped or larger subsidies, putting California at a disadvantage. • Strikes in 2023 and a decline in Peak TV also contributed to a production slowdown. • Global production declines occurred, with Georgia and the U.K. also seeing reduced TV releases. • California temporarily boosted its incentives in 2021, but ongoing state budget deficits limit further expansions. • FilmLA warns California must act to support its entertainment industry or face continued market share losses. FilmLA Seeks 'Vast Expansion' of California Tax Credit (variety.com) https://lnkd.in/gps_6c9A

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