Lindsay Guión

Content creation is evolving fast..!! Keep yourself updated, create value content for your community and own your data...! Thanks Streann Media for the Masterclass, your platform is so user friendly top of di top..!

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Nice article about our screening of New Wave: Dare to Be Different and the Q&A at the Long Island Music & Entertainment Hallof Fame!

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Mission: Impossible—Troika Force Logline: In a world where media giants wrestle for dominance, Paramount Global entrusts its fate to ‘THE TROIKA’— 3 visionary leaders tasked with a high-stakes mission to rescue the studio from the brink. Through strategic cuts, covert partnerships, and bold innovations, they race against time to save PARA from collapse. Will they succeed in this epic quest, or will their efforts be the final act in a storied legacy? Originally seen as a temporary fix, ‘THE TROIKA’ is now set to steer the ship through some stormy seas and possibly redefine Paramount’s future. With PARA’S $14 billion debt & lagging stock, ‘THE TROIKA’ are tasked with making tough decisions, including significant layoffs & asset sales. Their goal? Transforming Paramount into a leaner, more agile company. Despite the unconventional setup and skepticism from some analysts, the team has a unified vision & close working relationship, always a good omen — if sustained. Cough. However, their success could end up paving the way for JUST 1 of them to take the helm — solo — eventually. #ParamountGlobal #Leadership #MediaIndustry #BusinessTransformation #filmindustry #entertainment #media #business #news

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From WrapPro -- the headline-- Latino Audiences Are the Secret to ‘Godzilla x Kong,’ ‘Bad Boys 4’ and ‘Inside Out 2’ Box Office Boom. Below is a link to the article which requires a password but Ive included the most important talking points. It falls into the "No, sh*t, Sherlock" category but never a bad idea to remind ourselves... Latino and Hispanic moviegoers are helping propel big-budget movies to box office success — a welcome shot in the arm as the 2024 box office struggles to come back to life following a pandemic and two crippling labor strikes. Recent tentpole releases like “Godzilla x Kong: The New Empire,” “Bad Boys: Ride or Die” and “Inside Out 2” (fresh off a record-breaking opening weekend) have all seen significant numbers of Latino and Hispanic moviegoers. They are disproportionally higher ticket buyers than other demographic groups because they tend to go to movies in larger groups of family and friends, according to research from management consultant McKinsey. Case in point: “Godzilla x Kong: The New Empire,” the latest and now most successful entry in the MonsterVerse franchise at $571 million worldwide, counted on Latinos and Hispanics for 35% of its audience, just behind Caucasians at 36%, with Asian/other at 18% and Black viewers at 17%. The film played well across the board, with men making up 62% of ticket buyers, but the Hispanic and Latino audience was a defining factor in some areas, according to data from Warner Bros. “Going out to the movie theater with a group of your friends and family in that communal environment of the movie theater is something that has traditionally been a big part of the entertainment diet of the Latino audience, and that’s fantastic for theaters,” Paul Dergarabedian, Comscore senior media analyst, told TheWrap. “Selling one ticket at a time or two is one thing, but being able to have an entire family or group of friends and family go to a movie theater, that’s gold at the box office.” It’s not just action movies capitalizing on Latino turnout. Family films play huge with the demo as well. Pixar’s “Inside Out 2” drew a 36% Latino and Hispanic audience on Father’s Day weekend, a higher share than any Pixar film outside “Coco.” The sequel’s ability to resonate with the demo is translating into boffo ticket sales and great walk up business. The Pixar sequel scored a whopping $155 million during opening weekend, the second-highest North American opening for an animated film ever. It’s so big, it’s already put the box office ahead of schedule on its road to recovery. “For the Latino audience, it’s the tradition that holds for many families of all backgrounds, but certainly we’re seeing in the demographic data and in the numbers that the Latino audience is very, very important to the bottom line for movie theaters and for Hollywood,” Dergarabedian added.

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Dear Producer (@Rebecca Green): "Rather than being about the work, the “Produced by” credit has become the token given to the person or brand who holds valuable IP or the star power to greenlight a movie. It is the reward for being “bankable.”" ... Pedro Correa (producer of HBO Max's "My Dead Dad"): I talk about this daily… Is the “producer” credit a financial credit? Packaging? Creative? A name-actor involved? The rep of a name-actor involved?! Do we need new sub-credits? It’s starting to feel this way. The credit “producer” has become likened to a luxury brand name — everyone seems to want it, but little people understand what it really* means to wear it, and the label* itself seems to be the sole focus (unlike work itself). It’s time that a bar be set, culturally, for the requirements to be able to call yourself a producer (outside just basic guild requirements). P.S. This is coming from the producer of “My Dead Dad” (HBO Max) — who also just so happened to be an actor in the film, and is often mistaken as ‘just an actor who got the producing credit’ — rather than the producer who, in reality, bled through their eyeballs for years getting the film made from A-to-Z. A revolution is needed. Read the Dear Producer Article: https://lnkd.in/e-pUXrxG

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🎶🎵 Ever wondered about the legalities behind your favorite tunes? Our latest blog post dives into the contracts, royalties, and copyright laws that shape the music industry. From understanding sync licensing agreements to navigating the complexities of mechanical royalties, we've got you covered. We also explore the crucial role of organizations like ASCAP, BMI, and the U.S. Copyright Office in protecting your creative work. Whether you're an artist, songwriter, producer, or just a passionate music fan, this post will equip you with the knowledge you need to navigate the legal side of sound. Read the full post here: https://lnkd.in/eJWvdpVQ #musicindustry #musiclaw #copyright #royalties #contracts #musicbusiness #musicmarketing #legaladvice #musicmakers #songwriter #artist

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"Watch the cash flow, that is the main reason small businesses fail." This was one of my father Ugur Ozmen's first advice when I started my production company in Los Angeles. This have guided me through my entrepreneurial and producing career. Cash flow is the lifeline of any business. For Producer/Owners and Operators, it’s not just about the profits from a production, that you will receive in 30 or more days, it's about maintaining enough liquidity to cover expenses until the next payday. Manage your cash wisely.

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Paying out an additional £6 million (approx. USD $7.7 million) in royalties from online services - “UK-based royalty collection society PRS for Music says it will be paying out an additional GBP £6 million (approx. USD $7.7 million) in royalties from online services to songwriters and composers annually, thanks to a reduction in its administration rate. The collection society said it’s reducing its admin rate on multi-territory online (MTOL) royalties by 20% – from a 10% rate to an 8% rate – as a result of the CMO “surpassing its targets, delivering historic distributions and revenues, and becoming a billion-pound society.” Announced at its 2024 Annual General Meeting (AGM) today (June 4), PRS estimates the reduction will see £1.5 million more paid out to members in each of its quarterly royalty distributions starting from October this year.” #PRS #CMOs #UK #MusicRoyaties #Songwriters #Composers #MusicPublishing #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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Paramount's Q1 earnings performance highlights both opportunities and challenges within the dynamic #streaming landscape. Most notably making recent headlines, the potential merger with Skydance suggests a strategic repositioning, aiming to strengthen Paramount's portfolio with high-quality content that could enhance its competitive stance in a crowded market and enhance Paramount's capabilities in producing and offering blockbuster films and acclaimed TV series on Paramount+. This move is a strategic effort to amplify Paramount's content offerings in both traditional and streaming formats, potentially improving its market share and appeal to a diverse viewer base. The recent introduction of international ad-tier subscriptions broadens Paramount's market reach outside of the U.S., attracting cost-conscious consumers with more accessible price points and tapping into new ad revenue streams. Introducing ad-tiers will capture global markets, reaching new demographics and analyzing consumer engagement habits. By integrating ads, Paramount will build valuable partnerships with advertisers looking to reach international audiences while increasing its global footprint. A key emphasis on providing original content and #livesports such as The Masters Tournament and National Women’s Soccer League are drivers of subscriber growth and consumer engagement on streaming platforms. The company's ability to enhance its original programming and secure compelling live sports rights will be decisive in its efforts to compete with industry giants and attract a global audience, ultimately improving its bottom line. Additionally, Bob Bakish, Paramount CEO, is stepping down today, signaling a pivot in Paramount’s overall corporate strategy and governance. New leadership may bring a different perspective on addressing the challenges of digital transformation in the #entertainment industry as we move away from traditional #cable and legacy media. This change could catalyze a more aggressive push into streaming and technology, and an increase in direct-to-consumer services, areas where Paramount must evolve to remain competitive with streaming giants like Netflix, Hulu and Prime Video & Amazon Studios. #LITrendingTopics #Q1Earnings #Streamers #Content #CordCutting https://lnkd.in/gt6_nFWN

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More Sony, Less Strategy “The plan would include auctioning off CBS, cable channels like MTV and the Paramount Plus streaming service. Paramount Pictures would be combined with Sony’s business.” So Sony’s entire strategy here is to spend $26 billion, sell off ALL the assets except the studio - not an easy task btw - all just to make Sony Pictures bigger? Seems like a LOT of squeeze for a questionable amount of juice. https://lnkd.in/eeEu8x_Z Paramount #mergersandacquisitions #movies

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Just finished "Measure What Matters: Succeeding with Objectives and Key Results (OKRs)" by Measure What Matters, John Doerr, and Ryan Panchadsaram! Check it out: https://lnkd.in/eigRzG_d #objectivesandkeyresults.

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Musicians determine success through a blend of qualitative and quantitative factors, tailored to individual goals and industry norms. Financial earnings from album sales, streaming royalties, concert tickets, and merchandise are primary indicators. Chart performance on platforms like Billboard and iTunes reflects popularity, while streaming and sales numbers on Spotify, Apple Music, and YouTube provide measurable success. Critical acclaim from music critics and publications, along with awards and nominations from prestigious bodies like the Grammys, also signal success. A large, engaged fan base and extensive media coverage further validate a musician's impact. Personal fulfillment and artistic satisfaction are crucial, as is the influence and impact their music has on peers and culture. Tour success, measured by attendance and revenue, indicates strong audience connection, while collaboration opportunities with notable artists and brands highlight industry recognition. Ultimately, longevity and sustained relevance mark true success, showing the artist's ability to adapt and thrive over time. Each musician's definition of success varies, reflecting their unique aspirations and career stages.

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The Music Specialist delivers: Content Licensing and Distribution Publishing Creation and Administration​ Question and answer group sessions Conference panel participation Multimedia presentations on Entertainment Industry back ​office structure Sync US and International Licensing

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The Music Specialist delivers: Content Licensing and Distribution Publishing Creation and Administration​ Question and answer group sessions Conference panel participation Multimedia presentations on Entertainment Industry back ​office structure Sync US and International Licensing

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The Hollywood Reporter annual roundtable video series provides a candid peek behind the curtain to reveal how entertainment professionals really feel and what they go through to bring filmed entertainment to the world. These conversations are divided into TV drama actresses, TV drama actors, TV comedy actresses, TV comedy actors, film actresses, film actors, directors, film producers, TV producers, writers, documentarians, animators, songwriters, and stand-up comics. https://lnkd.in/g2vcnkGz The reason I'm posting about this is the anti-Hollywood reaction I received to a recent post. I happily wrote about the end of the remaining Hollywood strike threat, and the reaction was unexpected in both numbers and antagonism. The post received over 20,000 views, 152 reactions (all positive), 10 reposts, and 32 comments (including replies). Of the 32 comments, 18 were critical, even hostile. Examples included: "It's clear that people don't need Hollywood, and that Hollywood still hasn't gotten the message." "I personally could NOT care less about the whole Hollywood entertainment industry. It can burn to the ground for all I care" "Hollywood is a wasteland, and most of the U.S. knows this." "My wish is that Hollywood actors all leave the US like they were supposed to." "Seems like Hollywood is rapidly becoming exponentially irrelevant." In a way, I was grateful to be enlightened on the opinion some people have about the industry I love. Understanding this perspective is important as I continue to make entertainment content and to present that content to the world. I was also thankful for the opportunity to have a (mostly) civil and open exchange of thoughts, and a chance to explain that the perception of working professionals in film and television does not coincide with my first-hand view of the hard-working, dedicated, and often struggling folks who make up the vast majority of the industry. Even the A-list people I've had the pleasure to have met and worked with have been genuinely humble and normal, just fellow coworkers. The Hollywood Reporter roundtables demonstrate, from the source, what a challenge it is to have any success in this business, and the pleasant, positive attitudes of those who have been able to do so, at least with their latest projects.

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