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ITV Targets Extra $46M In Cost Savings Amid "Softening Economy"
TV & Streaming

ITV Targets Extra $46M In Cost Savings Amid “Softening Economy”

by jummy84 November 6, 2025
written by jummy84

UK network ITV is planning to save another £35M ($45.7M) in the coming quarter, despite posting steady year-to-date group revenues.

In a Q3 trading update, the broadcaster and content group said it had identified the additional temporary savings” in its Media & Entertainment division, which houses its linear networks and streamer ITVX.

“UK macro data is showing a softening economy, with increased uncertainty in the lead up to the UK Budget which is impacting the wider advertising market, and we are adjusting our costs to match this current reduction in demand,” said ITV CEO Carolyn McCall in a trading update today. “We do not anticipate these temporary savings to impact our ability to deliver our strategic plan.”

The plan is to move £20M of programming will be moved into 2026 and make an additional £15M of non-content savings, primarily through “reduced discretionary spend” and “reduced marketing spend aligned with the adjusted content slate.” The move means ITV’s total content budget for 2025 is adjusted to around £1.21B.

Overall total year-to-date group revenues for the nine months to end-September at ITV were £2.8B, up 2% from £2.74B a year ago. A strong performance at production and sales division ITV Studios was hailed for offsetting an anticipated drop of 9% in total advertising revenue.

For the full year, ITV said it was “on track to deliver good revenue growth in ITV Studios at a margin of 13-15%,” while warning the “economic outlook in the UK remains uncertain with widespread caution being exercised across business sectors ahead of the Budget in November.”

ITV Studios revenue came in at £1.35B, up 11% on the £1.22B in 2024, with external revenue up 20% thanks to demand for programs from streamers. During the quarter, ITV Studios launched the likes of The Reluctant Traveler Season 3 for Apple TV and Love Island Games for Peacock.

However, internal revenues dropped 7% due to the absence of shows such as Saturday Night Takeaway, sports production and phasing of productions.

The M&E networks arm saw total revenue fall 5% to £1.44B, though digital advertising revenue was up 15% as ITVX viewing grew total streamed hours by 14%. Overall digital revenues were up 13%.

ITV said its overall performance for the nine months to the end of September had been “better than market expectations” thanks to its long-term More Than TV strategy. Full-year revenue and margin outlooks remain unchanged.

“ITV has delivered a good performance in a tough advertising market,” said McCall. “Both our businesses are performing well, reflecting the significant transformation we have delivered. Our strategic initiatives continue to progress well, and we remain confident in delivering good growth in ITV Studios revenue and digital revenue for the full year. This is supported by laser-focused strategic cost management and underpinned by our resilient and highly cash generative linear broadcast business.”

November 6, 2025 0 comments
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At the Academy Gala, Old Hollywood Meets the Creator Economy
TV & Streaming

At the Academy Gala, Old Hollywood Meets the Creator Economy

by jummy84 October 21, 2025
written by jummy84

Saturday night was the fifth annual Academy Gala, the glamorous fundraising event that also serves as a de facto soft launch of Oscar season. At the Academy Museum cocktail party preceding it, the awards circuit still had its new-car smell; everyone seemed a little more excited to slip into their tuxedos and gravity-defying gowns (or, in the case of Kim Kardashian, a head-encompassing beige silk scarf).

This year’s event also carried an element of nostalgia. Whether it’s film festivals, conferences, or awards shows, all circuits are Groundhog Days where participants may get annoyed by repetition but are ultimately won over by community and familiarity. Same as it ever was — only now, when LA production continues to drop and jobs are scarce everywhere, it’s not.

TELLURIDE, COLORADO - AUGUST 31: Ethan Hawke attends the 2025 Telluride Film Festival on August 31, 2025 in Telluride, Colorado. (Photo by Vivien Killilea/Getty Images)

The Academy knows it, too. It selected Amelia Dimoldenberg, creator of YouTube’s “Chicken Shop Date,” as the night’s emcee for the Academy’s social interviews, where she spoke with the likes of Quinta Brunson, Charli XCX, Rachel Zegler, Jeff Goldblum, Jesse Eisenberg, and Anna Kendrick. She did a great job, tweaking the celebrities — some of whom have been on her YouTube show, or want to be. It’s become a must-stop for promotional tours.

Oddly, none of the Academy’s Instagram or YouTube posts from the evening utilized Dimoldenberg as a collaborator. (Across platforms, Dimoldenberg has over 5 million subscribers — equal to the Academy.) Whether oversight or strategy, it reflects a dilemma facing Hollywood now. Everyone knows that change isn’t just coming, it’s here, but there’s real confusion (or denial) in acting on it.

I sought some clarity from Ben Woods, an analyst at entertainment research firm MIDiA and an author of its recent report, “The New Hollywood.” Among the findings: If you’re younger than 34, broadcast is a distant third to social and streaming. Even in the oldest cohort (those 65 and older), broadcast barely holds the majority at 55 percent. (It’s currently unclear if the 2026 Oscars will be available on streaming; this year, it streamed on Hulu.)

The report also offered a strategic playbook for traditional media, but it’s not what anyone at the Academy cocktail would want to hear. Recommendations include hiring digital natives, lean production cycles (citing Dhar Mann’s $1,000 per minute), repackaging back catalogs into multiple FAST or social channels, and adapting to vertical, scrolling content. Bottom line: Traditional players must adopt creator-driven, social-first strategies or risk irrelevance.

Clockwise from top left: Quinta Brunson, Dave Franco and Alison Brie, Anna Kendrick, and Inga Ibsdotter Lilleaas

At an evening honoring Oscar contenders and their stars, like “Jay Kelly” (George Clooney, Adam Sandler, and Laura Dern), “Sentimental Value” (Elle Fanning, Renate Reinsve, and Inga Ibsdotter Lilleaas), and “Deliver Me from Nowhere” (Jeremy Allen White, Scott Cooper, Jeremy Strong, and Bruce Springsteen), social cutdowns weren’t top of mind — but they may be the format in which (parts) of these films are most widely seen.

Woods knows his report doesn’t necessarily deliver a popular message. He often gets variations on this question: With a hazy monetization strategy, exactly why should companies do this? The answer, so much as there is one, is don’t kill the messenger.

“Is it better to be able to offer [brands] that holistic message whereby you can say, ‘We can reach audiences — our classic audiences through our broadcast channels, through our streaming channels, and also by the way, we manage the relationship for all of the social audiences and we know exactly what they look like and how they differ?’ I think that’s a powerful message that you’re going to want to try and control rather than not,” Woods said.

And if you don’t — well, nature hates a vacuum. “If you don’t embrace it, you’re going to see situations which we’re already seeing whereby brands are going direct to consumers with entertainment content, whether that’s Dick’s Sporting Goods, whether that’s the Waitrose supermarket in the UK with its really popular video podcasts, whether that’s the Tinder dating app creating a reality TV series akin to ‘Love Island,’” he said. “I think the creator economy has created a license to entertain for anyone.”

No one would equate a supermarket podcast with an Oscar contender, but that’s also beside the point.

A supermarket podcast or dating-app reality series doesn’t belong in the same conversation as Clooney or Springsteen. And the Academy Gala has stolen bragging rights from the Academy’s own Governors Awards as the season’s first must-attend event.

It was also proof that the industry can’t believe tradition is enough. Will Hollywood be able to embrace the creator economy and keep its place at the center of culture — or will the next generation of audiences decide that center lies somewhere else?

October 21, 2025 0 comments
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Creator Economy dominates traditional TV market
TV & Streaming

Creator Economy dominates traditional TV market

by jummy84 October 15, 2025
written by jummy84

MIPCOM Cannes wrapped its 2025 edition this week with organizers hailing a “tipping point” moment for the global television industry, as the creator economy and digital-first talent moved to the center of the market for the first time.

“This has been the biggest step change in a generation for MIPCOM,” said Lucy Smith, director of MIPCOM Cannes and MIP London. “We’ve brought the creator economy into the heart of the market, welcomed YouTube for their first major presence, and staged our first brand-funded content summit. With the succession of deals announced this week, it feels like a tipping point for the industry.”

YouTube’s participation, including a dedicated showcase of creator-led projects, underscored how the platform’s influence now extends beyond short-form video into full-scale entertainment production. The shift was mirrored by several high-profile partnerships in the creator space, led by old-school TV giants including the BBC, Fremantle and Banijay Entertainment.

Banijay used the market to unveil its latest push into creator-led sports entertainment, launching FC Failliet/Finesse (FCF), a professional Dutch soccer club co-founded with digital creators Ilias Vietto, Aimane Charbon and Kleine John. The team, developed through Banijay’s Southfields label and NXT division, streams its matches and content online, drawing more than 22 million views to date.

BBC Studios also expanded its creator-focused operations, announcing new partnerships with YouTube’s head of global partnerships Pedro Pina to co-develop content that blends digital-native formats with BBC’s production infrastructure. Both deals signaled a broader convergence between traditional production and creator-driven storytelling.

In a deal announced Tuesday, production and distribution giant Fremantle unveiled a new partnership with social media specialist Viral Nation, teaming up on a series of shows led by YouTube creators.

Beyond digital innovation, the market saw renewed momentum in scripted and unscripted sales. Banijay Rights closed key international deals for BBC and HBO co-production Half Man, Richard Gadd’s follow-up to his Netflix smash hit Baby Reindeer, starring Gadd and Jamie Bell, will sales to Stan in Australia and Crave in Canada. The six-part drama, produced by Banijay UK’s Mam Tor Productions, follows two men across four decades of friendship and estrangement in Glasgow and is set to debut in 2026.

Banijay Entertainment inked a multi-territory format deal with Studiocanal and formats studio Dreamspark for Banijay’s Werewolves, a reality format show based on the cult board game. The high-concept social experiment show, in which a group of strangers work together to uncover the traitors, sorry, werewolves, amongst them, was a breakout hit on Canal+ in France and has already been adapted for ARD’s online service in Germany. The deal will see Studiocanal and Dreamspark lead adaptations of the show across Studiocanal’s international production footprint in the U.S., U.K., Australia/New Zealand, Italy, Spain, Portugal, the Nordics, the Netherlands, Israel, Mexico, Brazil, and India.

Radial Entertainment, the new global distributor managing FilmRise and Shout! Studios, announced a major licensing deal for Conan, acquiring exclusive on-demand U.S. streaming rights to all 11 seasons of Conan O’Brien’s late-night series. The agreement gives Radial Entertainment SVOD, AVOD, EST, TVOD, and diginet rights to the show, which originally aired on TBS from 2010 to 2021.

Earlier MIPCOM deal highlights saw Cineflix Rights closing a new round of deals on darkly comic caper Sunny Nights, with the Will Forte and D’Arcy Carden-starring series, already picked up by ITV in Britain, going to Bell Media in Canada, and ProSieben in Germany, among other deals.

Other major sales activity included ITV Studios landing format deals for Solitary and strong unscripted sales across Lionsgate and Banijay’s catalogs, signaling a rebound in global distribution.

There were also plenty of new projects announced, including Mattel’s upcoming Magic 8 Ball TV series, directed by The Sixth Sense helmer M. Night Shyamalan; a TV adaptation of Dana Elazar-Halevi’s best-selling young adult book series Secret Mission from Dean Devlin’s Electric Entertainment; and Miraculous, a global theatrical feature based on hit children’s animation series Miraculous – Tales of Ladybug and Cat Noir, from the Mediawan/ZAG joint venture Miraculous Corp.

Organizers confirmed that the 42nd edition of MIPCOM will return October 12–15, 2026, preceded by MIPJunior on October 10–11. The second edition of MIP London is set for February 22–24, 2026, maintaining its focus on multi-genre programming and creator-led content.

October 15, 2025 0 comments
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Get Ready For Bollywood In Britain! YRF To Shoot 3 Films In The UK, Boosting Economy | Glamsham.com
Bollywood

Get Ready For Bollywood In Britain! YRF To Shoot 3 Films In The UK, Boosting Economy | Glamsham.com

by jummy84 October 9, 2025
written by jummy84

India’s premier movie production company, Yash Raj Films (YRF), has announced its intention to produce its major films in the United Kingdom from the beginning of 2026. The ground-breaking decision is set to generate more than 3,000 jobs and put millions of pounds into the UK economy. UK Prime Minister Keir Starmer made the announcement in Mumbai today as part of a high-profile trade mission to further UK-India relations.

The Prime Minister paid a visit to Yash Raj Studios, the 20th anniversary of which falls on October 12, along with a British delegation of film industry leaders such as the British Film Institute (BFI), British Film Commission, Pinewood Studios, Elstree Studios and Civic Studios. The visit reflects increased cooperation between the two countries’ flourishing creative industries.

Bollywood is back in Britain,” declared Prime Minister Starmer. “It’s bringing jobs, investment and opportunity, all while promoting the UK as a world-class destination for global film-making. This is precisely the sort of partnership our trade agreement with India is set to unlock.

The UK’s film industry, worth £12 billion annually and supporting 90,000 jobs, is a popular destination for international filmmakers due to its state-of-the-art studio infrastructure and iconic landscapes. YRF’s return to filming in the UK, after an eight-year hiatus, signals renewed confidence and opportunity following the UK-India trade deal negotiations.

YRF CEO Akshaye Widhani was bubbling with enthusiasm over reviving the links with the UK, as some of the company’s most legendary films like Dilwale Dulhania Le Jayenge (DDLJ) were shot there. “It is really wonderful to revive YRF and UK’s filming relationship on DDLJ’s 30th anniversary,” he added. The company has also produced an English musical adaptation of the film, Come Fall in Love, in the UK.

Get Ready For Bollywood In Britain! Yrf To Shoot 3 Films In The Uk, Boosting Economy 2

Culture Secretary Lisa Nandy, on her part, was pleased with the partnership, which she noted conforms to the UK’s Creative Industries Sector Plan to drive growth and worldwide impact.

Furthermore, a new cooperation deal between the BFI and India’s National Film Development Corporation will enhance co-productions and promote talent exchange between the two countries.

This partnership not only enhances cultural and economic ties but is also an extension of previous successes such as Slumdog Millionaire, which added £300 million to the UK economy. As India’s film industry keeps expanding, partnerships such as this one pledge a colorful, mutually rewarding future for Indian and UK cinema.

October 9, 2025 0 comments
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In the Taylor Swift Economy, Fans Are the Product
Music

In the Taylor Swift Economy, Fans Are the Product

by jummy84 October 8, 2025
written by jummy84

Greed knows no bounds, and neither does Taylor Swift. Don’t hate me, Swifties! I know your eyes are finally opening, too. Please, allow me to give 10s where they’re due: Your fave is likely one of the biggest pop stars the world will ever see. But her business acumen might end up being more historical than her actual art.

After the release of her latest album, The Life of a Showgirl, Swift has broken records with her biggest sales week ever: 2.7 million sales in the first 24 hours alone. Are you reading what I’m writing? This feat also marks the second-largest sales week for any album since 1991, when modern chart methodology began. Only Adele’s 25 has surpassed that number, selling 3.378 million copies in its first week in 2015. And again, Swift’s numbers are based on one single day of sales.

To call Taylor Swift an industry titan would be an understatement. She is the behemoth who stands above all. She makes history with her tours, her theater experiences, her merchandise, and chiefly, her ability to convince the same fans to buy the same album over and over again. A proclaimed self-made billionaire, Swift has made it to the top of her mountain of money by relating deeply to her fans, then convincing them to crack those pretty little wallets open. With Showgirl, Swift has done this multiple times over.

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“File this under ‘save your best for the finale,’” Swift wrote on an Instagram post on October 4th, promoting multiple CD variants of her latest album that separately feature acoustic tracks not found on the standard version of Showgirl. “I think my favorite moments from the tour were the acoustic surprises. So I went back into the studio with Max and Shellback to record acoustic/unplugged versions of a few of the Showgirl songs with brand new vocals and production! Cannot WAIT for you to hear.”

On October 6th, Swift would post something similar while hawking an additional deluxe version of the album, this time available only on iTunes for 24 hours! In addition to iterations found online, that makes for at least 11 different CD variants, and nine different vinyl editions released of the album. One exhaustively curated spreadsheet puts the total count at 28. These captions read like a gift to fans, but let’s call them what they actually are: sales pitches. You cannot WAIT for people to spend that bread, girl!

Taylor Swift has arguably the most loyal contemporary fanbase, the Swifties, which is the closest thing to a rival of Michael Jackson’s collective of stans, in terms of scale and fervor. Her appeal has always been emotional transparency. For years upon years, Swift has been able to depend on her ability to turn heartbreak into parasocial intimacy into empire. But it seems even Swifties get tired, as evinced by the comments on the official Taylor Nation Instagram fan page.

“This is so upsetting,” one stan wrote on a post pushing the limited CD variants. “I love Taylor, I do. But for the love of God why do you need so many variants? Why does one hard working fan have to buy seven different versions of an album instead of just having all of the songs be on one complete album? You have millions of dollars. Give us broke fans a break.”

A personalized, world-spanning battalion of money spenders is hard not to mobilize. Taylor Swift is aiming to break every record imaginable, and it starts with getting her product into the hands of the masses. In the Swift economy, fans are more than mere listeners — they’re shareholders, and Taylor rewards them accordingly. Not with the authentic intimacy that Swifties are constantly seeking, but with artificial access. You can own a piece of her empire, as long as you’re willing to pay for it.

October 8, 2025 0 comments
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600px (w) x 500px (h)
Events

UK events industry adds £11.5bn to UK economy

by jummy84 September 30, 2025
written by jummy84

EIA directors

According to the latest Economic Impact Study published today by the Events Industry Alliance (EIA), the business events (conferences and exhibitions) industry continues to grow, uplifting the UK economy by £11.5 billion business sales in 2024.

Key findings from the report finds the UK business events industry:

  • Adds £11.5 billion to UK economy
  • Economic contribution has grown by almost 6% over last two years
  • Supports over 126,000 jobs
  • Attracts more than 7.2million visitors to the UK each year

The figures unveiled today at the Labour Party Conference in ACC Liverpool, where the EIA joined politicians, industry and association members at the EIA sponsored event – “Backing British Events: A Growth Sector for Labour’s Economy.”

Rachel Swann, chief operating officer, energy division at dmg events and EIA chair commented, “The report quantifies the economic significance of exhibitions in the UK and shows the industry has now exceeded pre-covid contributions and significantly grown from £10.9 billion output in 2023. The industry proves its resilience year on year but still needs support and recognition from the Government.”

Swann continued, “The report is invaluable to us and our industry, particularly in our quest to highlight the importance of the business events industry to the Government as it provides a clear snapshot of industry metrics and direct spending, analysis of the economic impact and the methods used to calculate those.”

The study incorporates data from the Size and Scale Index for Exhibitions (SASIE) report published earlier this year, which revealed 1,145 exhibitions were held in 2024. Based on a total economic impact of £11.5 (€13.6) billion and a total of 132,000 exhibiting companies, total output per exhibitor amounted to approximately £87,000 (€103,000) in 2024.

The events attracted 7.2 million visitors who, along with exhibitors, produce a substantial multiplier spending in hospitality, travel and hotels.

Rachel Parker, CEO, AEV and EIA director said, “The organisers, venues and event suppliers generate 126,000 jobs accounting for £6.0 billion of UK gross domestic product (GDP) and support other areas of the economy further emphasising the impact of the business events industry.”

Swann concluded, “The figures shed a positive light on our industry, it shows that business events are a vital driver of trade, innovation and regional growth across the UK and provides encouraging evidence for the Government to take note of the importance of our contribution to the economy across the UK.”

The report is available for download via the EIA website – www.eventsindustryalliance.com.

September 30, 2025 0 comments
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Evan Shapiro on the Affinity Economy — In Development
TV & Streaming

Evan Shapiro on the Affinity Economy — In Development

by jummy84 September 16, 2025
written by jummy84

Four months ago, I launched the In Development newsletter with a question: With the entertainment industry in crisis, what should we do next? 
 
Since then, we’ve explored: 
• The making and selling of vertical videos 
• Filmmakers getting money from rich people 
• A pay-to-play model that might make sense 
• How filmmakers can own their release strategies 
• How crews are learning to think like influencers 
• Why living lean is business strategy 
 
This week asks something different: 
 
What if your success as a filmmaker is tied to the strength of your personal community? 
 
That sounds like (and probably is) the first thing you’d hear at a TED Talk, followed by trenchant anecdotes and thoughtful homilies. I offer neither, and I am the sort of person who cringes a bit at “personal community,” but still I persist: 
 
What if investors or buyers valued your project not only on story, cast, production team, and director CV — but also on the collective value of the communities they brought to the table? 
 
I’m not talking about Instagram followers (though you’d probably have those, too). I mean the ability to demonstrate there’s a collection of humans with a specific affinity for your work and for each other. 
 
We already know what this looks like: It’s what built Comic-Con and the franchises that fill it. But what if that same logic applied to you—an indie filmmaker, fledgling producer, actor, or cinematographer? 
 
I believe this is what happens next. 

4238_D045_00238_R Jessie Buckley stars as Agnes and Joe Alwyn as Bartholomew in director Chloé Zhao’s HAMNET, a Focus Features release. Credit: Agata Grzybowska / © 2025 FOCUS FEATURES LLC

Enter the Affinity Economy

It already has a name — the Affinity Economy — and credit goes to Evan Shapiro, a former TV executive with a talent for inhaling massive amounts of data to identify what’s already true but not yet declared. 
 
Two years ago, Shapiro rattled legacy-media executives at global conference IBC when he declared they now operated in a creator economy. 
 
“I looked at the room and I said, ‘This is the moment in time where you’re going to have to change everything or go out of business,’” he said in a recent video post, shortly before he took the stage at IBC 2025. “It pissed off a lot of people in the room to the point that there were a bunch of harrumphing old men who got up and left.” 
 
Today, YouTube is the number-one television channel and the creator economy is a given, like gravity. Shapiro’s now moved on: He describes the Affinity Economy as “a new ecosystem where mainstream media and the creator economy have collided and melded and turned into a Frankenstein monster.” 
 
The Affinity Economy doesn’t care if you’re indie or blockbuster, theatrical or TikTok. It doesn’t particularly care about likes, which can be casual or bought. It’s all about the thing that can’t be faked or AI’d: the community your work creates or inspires. 

The Reception

When Shapiro returned to IBC this September, audience reaction was starkly different. 
 
“The reception was very positive—from the people in the audience, from the organizers, and from the people who pay to fund the conference,” he wrote me. “It was a bit overwhelming tbh… I also had the opportunity to ask a sizable sample of delegates about what they would most want to transform if they could. The overwhelming answer—more than 2/3—was to shift from the vision-less CFO centric culture in the industry and return to vision and mission. This was across media and tech. Big companies and small.” 
 
That’s encouraging news in a world where Paramount is preparing to swallow Warner Bros. Discovery whole. 

The Affinity Economy is an aspiring buzzword, but there’s evidence that its reality is already here. When I spoke with Cineverse exec Erick Opeka last week about MicroCo, we talked about the upcoming LA vertical drama market and its fan event VertiCon, which is inspiring attendance from as far away as Australia.  

Why It Matters

More importantly, he said, that devotion can translate directly to dollars. If microdrama star Kasey Esser shows that his fans convert into paying customers, he can get more money… from companies like MicroCo. 
 
“If they build their own franchises, if they have their own characters and get popular,” Opeka said, “they’re going to demand it and they’re going to get it.”  
 
In other words: Those who can convert fans into audience will win. However, that also demands young creators start building a fanbase now — before they’ve made the big sale, or any sale; possibly even before they’re really good.  
 
That is some hard work, but under the Affinity Economy it’s essential — not only for future returns, but because community is the only metric that matters. 
 
How to do that? That’s a future issue of In Development.  

✉️ Have an idea, compliment, or complaint? 
[email protected];  (323) 435-7690.

Weekly recommendations for your career mindset, curated by IndieWire Senior Editor Christian Zilko.

Music can make or break a movie, but indie filmmakers who pour their souls (and savings) into making a film often end up neglecting it when they get to post-production and see their budgets have evaporated. This article offers a detailed breakdown of the options available to artists looking to stretch their budgets and assemble soundtracks that make their films sound more expensive than they actually are.

A clever article that analyzes the strategies behind an expensive studio film with a massive marketing budget and then seamlessly applies them to microbudget filmmakers handling their own distribution. Even if you don’t make genre films, every filmmaker can find something in here to help give their own marketing campaign a bit of the “Weapons” magic.
 

If you need a reason to feel good about making your films independently (either by choice or lack of other options), this insightful look into the processes and priorities that lead to many of Netflix’s least inspired films is a great place to start. 

I always enjoy seeing someone take the time to write a detailed article about the parts of filmmaking that never make their way into the spotlight. Donny Broussard’s Punk Rock Producing Substack (a favorite of this newsletter) did just that this week with this explainer on feeding crews on the smallest of films.
 

I’ll be the first to admit that social media marketing does not come naturally to me, but any filmmaker looking to make their bones in the Affinity Economy needs to learn it. Vora offers 26 easily digestible bits of info for any director looking to build a following for their film, making for a fun read and a resource you can refer back to again and again.

 

September 16, 2025 0 comments
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Taylor Swift is in her engagement era. Will it give the economy a boost? - National
Celebrity News

Taylor Swift is in her engagement era. Will it give the economy a boost? – National

by jummy84 August 27, 2025
written by jummy84

The global economy may be trying to get Out Of The Woods, but a celebrity wedding might just be what it needs to Shake It Off after pop star Taylor Swift announced her engagement to two-time Super Bowl champion Travis Kelce.

The news is spurring hope that it could bring a much-needed boost to retail sales and consumer spending.

Swift’s impact on local economies and retail has long been the subject of study, with one estimate claiming that the singer-songwriter’s 2023 U.S. tour may have generated US$4.6 billion in total consumer spending, larger than the GDP of 35 countries.

A report dubbed Swiftonomics: Eras Tour Impact on Colorado found that Swift’s two shows in July led to a US$140-million boost to the state’s GDP for the year.

Canada, too, was left feeling the Lavender Haze from the performer’s shows here.

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Payment processing firm Moneris released data indicating downtown Vancouver saw a 154 per cent increase in spending levels during her Eras Tour in 2024 — a spike not seen since the 2010 Vancouver Olympics, the report said.

Clothing stores saw a 923 per cent increase in sales, while sales of cosmetics rose 529 per cent. Variety stores saw a 178 per cent increase in sales volumes.

Swift and Kelce’s engagement has the potential to garner as much attention, if not more, than the Eras Tour, some experts argue.

“Taylor Swift actually broke Instagram for a little bit. Meta put out a report that they had some outages because this was one of the most-liked Instagram posts ever,” said Bree McEwan, a professor at the University of Toronto’s Institute of Communication, Culture, Information and Technology.

“You have two very, very involved fandoms who are coming together — more the Swifties than the NFL guys — to celebrate a relationship that they’ve been watching for a while.”


Click to play video: '‘It’s a love story’: Taylor Swift and Travis Kelce announce engagement'

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‘It’s a love story’: Taylor Swift and Travis Kelce announce engagement


Less than 24 hours after the couple announced their engagement, e-commerce platform Etsy was flooded with Taylor-Travis merchandise.

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Images of the couple holding each other, touching foreheads, are emblazoned on T-shirts and sweatshirts selling for as much as $100 on the site.

Other merch includes onesies for babies with the text, “My English teacher and gym teacher are getting married,” a reference to Swift and Kelce’s Instagram caption announcing their engagement.

McEwan said Swift’s fandom — or Swifties, as they like to dub themselves — are particularly suited for a merchandise boom. That’s because of Swift’s proclivity for catchy lyrics and Easter eggs hidden throughout her music and engagement with the public.


“Taylor Swift fans have their own sort of secret language and secret code,” she said.

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The 2018 wedding of Prince Harry to Meghan Markle is said to have added 1.05 billion pounds, or US$1.43 billion, to the British economy.

But the impact of individual artists or events on the broader economy might be overstated, said Moshe Lander, economist at Concordia University.

“Taylor Swift is the 21st-century answer to Madonna,” he said.

“We would go crazy when she (Madonna) was releasing her album or when she was making headlines in the tabloids for who she was dating. Did it improve our quality of life? Is the Gen X standard of living better because of the Madonna effect? No, of course not,” he said.

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While the impact around a major event could help retail sales in some sectors, it might hurt others.

“They (fans) have to take their disposable income from somewhere else to move it towards the tickets,” he said, citing the example of the Eras Tour shows in Toronto.

For example, someone spending money on Eras Tour tickets or merchandise might choose to delay spending money in other areas, such as on a home renovation or eating out. This is because without the pot growing, most people have the same amount of money to spend on discretionary expenses.


Click to play video: 'The Morning Show: August 27'

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The Morning Show: August 27


“The economic impact of Taylor Swift might be positive in and around the Rogers Centre. But it’s negative in and around the Eaton Centre,” Lander added.

Swift, Kelce and their marketing team have been careful not to alienate fans who might be feeling the pinch in their pocketbooks, McEwan said.

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“This is a depressed economy, and it’s not going to resonate with her fans if she has very over the top and very expensive and very gaudy kinds of choices,” she added.

Economic observers should be wary of overstating the impact, Lander cautioned.

“She is not an economic engine for anything other than herself, as she should be,” he said.


Click to play video: 'Taylor Swift announces new album on her boyfriend’s podcast'

4:17
Taylor Swift announces new album on her boyfriend’s podcast


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‘We never go out of style’

Whether or not the Swift-Kelce wedding spurs new spending across their fanbase, it can certainly shape retail trends among fans with disposable income who were already predisposed to spending.

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“You’re already seeing it with the engagement ring, right? That’s a really unusual cut,” McEwan said.

“If you are currently thinking about engagement rings and wedding dresses, you’re going to see the things that Taylor showcases to her fans,” she added.


A sparkling diamond ring can be seen on Taylor Swift’s finger. According to some reports, it is an old mine brilliant cut designed by Kindred Lubeck at Artifex Fine Jewelry. Swift can be seen wearing a watch to go with the look, with a golden strap and a rectangular white dial, a style that complements her ring.

Taylor Swift on Instagram

Montreal-based Chateau D’Ivoire, a high-end jeweller, said its clients have been asking them about similar designs, less than 24 hours after Swift posted a picture of her engagement ring.

“They’ve been talking with me about the size, the cushion cut, the style, the design and how they designed it,” said Rachel Zhang, sales professional at Chateau D’Ivoire.

“She was wearing a vintage Cartier watch, to match her vintage engagement ring, which is stunning. This could be a timeless piece forever,” she said, adding that they’ve also been getting inquiries about watches.

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Click to play video: 'Taylor Swift unveils new album, ‘The Life of a Showgirl,’ on boyfriend Travis Kelce’s podcast'

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Taylor Swift unveils new album, ‘The Life of a Showgirl,’ on boyfriend Travis Kelce’s podcast


The internet is already abuzz, McEwan said.

“There’s already entire Reddit boards devoted to what this ring is and how much it costs and how can you get a cushion cut like that,” she said.

But most people can’t afford a billionaire’s taste in jewelry.

“Not everyone can afford the kind of luxury that Taylor can afford,” McEwan said.

“What you’ll see is different (cheaper) spinoffs on the trends,” she added.

Etsy sellers are already trying to cash in, with fake-diamond rings that look like Swift’s ring being sold for as little as $300. Even high-end jewellers are trying to cater to different customer bases.

“Not many people will go looking for that big a cut. Taylor is wearing 13 carats. That’s a huge stone. From our experience, people are looking for something around one carat or two carats. Even three carats is rare,” Zhang said.

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However, McEwan added that Swifties should temper their expectations about how much the couple may want to broadcast.

“She’s got a huge marketing team behind her and they’re very savvy at thinking through what pieces do they show and what do they not show,” she said, adding that Swift is particularly wary of fans developing parasocial relationships with her.

“She has to manage it very carefully because people can get over-involved,” McEwan added.

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