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oh hello, Lily Allen and Makita Oliver here and Nick Grimshaw and Annie McManus with only 30 seconds to tell you about their BB

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hello welcome to the media podcast I'm Matt Deacon

On the show today, how does Channel 4 plan to run its own production arm and how long does the BBC have in its current form our panel disgust this and the other top Media stories of the week including?

When the local radio market fails can Community Radio fill the gap we're in Westminster to find out all that plus.

We look at the plans to move mid TV from kin to London

where the Independent is picked up BuzzFeed and in the media quiz we are asked where have all the talent gone.

That's all to come in this edition of the media podcast.

In the news this week, it's farewell to Ant & Dec Saturday Night Takeaway and next Saturday the prime Time duo bar with an extended two hour live show on ITV1 but as broadcasts Chris Curtis said this week that they were offer for four years ago about a decade ago.

I think will it be back again?

It's farewell two to one Golden Square as Bauer move out of their home for the past decade and new studios in Euston the address was previously the home of Virgin 1215 back in 1993 which later became.

Anyone anyone yes, Absolute Radio and also it's a final goodbye to Google podcasts.

which has been switched off in the States with alphabet making the switch to YouTube music as the default on Android phones will it work probably not able probably encourage more video podcasts something which is great news for Google

well, here we are in full Technicolor

On our YouTube channel, I'm at the London podcast Studios and my guess the remote thanks to the vijar of the tube strikes.

That hits take us through the other stories.

of the week include audio consultants and Charles hello Anne

Hello, I think you seems to be a lot about farewells this week and we're still so probably.

Take a moment celebrate Paul chantler so a tightened in the radio world.

Who passed this week which was sad news?

It was incredibly sad and I didn't know Paul well.

I'd met him a few times and like a lot of people knew him quite well on social media.

And but there doesn't seem to be a radio group.

He's not worked for.

Or a person in the industry who he's not kind of supported in some way.

He was co-author of one of the Essential Media law textbooks that many of us.

Rely on and I I know that.

Several people in industry, remarked that he's probably saved the industry thousands and thousands and thousands in not getting in people in Legal trouble because they they understood what they were doing.

And I don't know about you, but my social media feeds were absolutely.

filled for with tributes and

I think we all just need to aspire to be a little bit more.

Like Paul yes, I mean sometimes radio ends up being a bit of a young person's game.

And I think to continue to consistently work kind of throughout your life.

Is is pretty impressive.

And also as you touched on there never want to be fixed in this ideas.

You know radio industry has changed pretty significantly over the last.

20 years but he's already always been doing kind of new things.

or applying kind of all the thinking to Neuer platforms which

was always really valuable so very sad and use this week.

And we also welcome to the show making his debut is the director of the national Film & television school or in fts.

It's Dr John Wardle on.

Hi Matt thanks for having me on no worries.

It's great to have you here.

How good is training generally in the film and TV sector?

not

great quite piece meal.

But I think that's what makes the nfts.

Stand out really it's been going for 52 years.

Where one of the top film schools in the world?

Which train more behind the camera roles than any other films in school in the world, so the only place you can train to be a production account and a post-production supervisor revere effects artists?

And we've got a 90% graduate employment rate and just at the baftas.

Just gone we run for student work.

We were both.

baftas for short film short animation short film so

We do we do pretty well, that's nice and people that people people tend to really like you guys.

And the work that you do is there enough support from the the industry for that work?

Oh, you can always have more but we're very lucky.

Yeah, we're very lucky.

We we're

core funded and supportive by the BBC by Channel 4 by ITV by Prime video

the cinema association so we're really fortunate for the industry support we have

and they only continue to give that money because they see the benefits of our graduates.

so

Whether it's nine graduate song one day.

the editor the composer the post production supervisor

or the producer of poor things or the sound recorders of the zone of interest if we weren't producing those people then.

That money I think would soon stop.

We'll have you again invited a lot of launch parties if that's the case okay, so I'm used this week Channel 4 has bought in the form of boss of Banerjee UK to consult on their new in-house production arm.

According to deadline Lucinda Hicks will be doing a couple of days a week.

To prepare for the longer weighted Media bill to be passed by Parliament something we've talked about on the show quite a bit what they're going to do with production.

This is them making quite quite a first step isn't it? John

Yeah, I was really encouraged by this.

I know that in India is a really worried.

About what in-house production at Channel 4 might mean and I think rightly so.

But Lucinda really knows her stuff.

You know whether it was running dragonfly or

senior at shine and then Banerjee

She she's incredibly in the friendly.

She totally understands that world.

And so I think it's quite encouraging that channel 4 of reached out to her to ask her to help them shape what it will be but it we're not the things I've read about.

Her appointment definitely made out that that it's a scoping exercise what what shape might this be and how my work so I was encouraged that they got her on board.

And it's always tricky that relationship between Indies and broadcasters.

And you wouldn't be surprised if some of the Indies were.

a bit nervous with with Channel 4's new plans

yeah, and I mean it's been really difficult for for in these and for freelancers across the board over the last year or so, there's been.

Freeze of commissioning not just the channel for but all over the place.

and

I think one of the problems that I I've been seeing what will recently is lots of people who are mid career leaving because they're unable to sustain.

Their careers and there's not so much training and development you know would talk about getting new people into the industry, but there's not as much career progression for people.

in in the middle, so it is

it's a trying time for lots of people and when commissioning does startup again.

How many people will be left to you are actually able to deliver a programme that's right.

Isn't she John it's not been a great time for for freelancers in the sector.

Is that something students worry about as there as their?

Coming into it.

Absolutely, I mean I think they're all thinking am I going to get a job at the end of this I think the thing I always say to their is.

if we listen to what the industry was saying about what it needed with being a real mess because

pre-covid I was being told at a train enough people during covid.

I was being told I trained too many people.

Then after covid told I wasn't training enough people again and then during the strikes and the downturn and commissioned again not enough people.

The reality is you need.

slow and steady as she goes and as and said you need to be supporting with career professionals as well and

we run a number of programs in that space where we're supporting people to step up from production coordinator production manager or

a system production accountant to production accountants so

Yeah, I think we need a much longer term Vue than just what's being commissioned in the next six months.

It's going to be interesting for Channel 4 as they kind of work out.

What they want to be as a production company and obviously in this scoping exercise? There's lots of different directions they could go.

get acquire a load of Indies

they could jump into a particular genre.

Do you think they should be adventurous John with with their thinking or just just trying to do something.

So the small instead steady to to get that ball rolling.

Personally smaller steady and and I think bill confidence that they're going to do it carefully and thoughtfully.

um

I think the most important thing channel for

can do is get back to commissioning great shows from other indes.

and

and hopefully that will happen.

You know soon if it's not already underway, so I think there's steps into.

being an Indian themselves is

do it slowly do it thoughtfully and then you'll take the community with you.

I think it's really a dangerous moment for them if they messed that up because

in this will start to look elsewhere take their best ideas elsewhere.

So so hopefully I think as I said I think listened disappointment is a really positive step.

And there's something special about being a public broadcast even if you do have a commercial arm.

and obviously BBC Studios is becoming more and more a part of what the BBC

is and does

but you think they still need a

Public service Ethos when they're thinking about how they expand their commercial operations, is it all about the money?

Well for Channel 4.

Well, yes, because the the industry.

Shouted very loudly about saving Channel 4 Channel 4 didn't want to become completely part of the private sector and find it in that way.

And then for whatever reason for the last couple of years 10 or 4 hasn't really produced anything.

That shows why everyone was shouting about saving them.

So I think that the distinctiveness point is what channel for is there for and having.

Having a public sector kind of or public purpose is behind that helps them to be different and if they're not going to embrace that and they're not able to make programs or exploit the IP and to have the funding to go forward then really.

What is the point so this I agree with John this is a

a really critical time for Channel 4 and by extension the Independent

production sector of the UK because Channel 4 commissions so much stuff normally.

And so it.

if it's

yeah, it's future is the health for a lot of parts of our industry so

Yeah, I suppose we just have to wait and see what the plans are going to be.

well, let's swap ends for Public Service Broadcasting

Now it says here in the scripts while I was suddenly myself in the conference halls of La last week.

Which I think is produce a match just feeling annoyed it wasn't that sunny it was fine, but it was nothing.

well, what's doing that director general at the BBC Tim Davie made a speech at the RTS

In itzy Trail the BBC doing AI on our terms.

And that moving more revenue away from the licence fee would inevitably shape editorial content that it funds.

John we saw probably the UK's most well-known.

producer Richard Osman take a straw poll of BBC execs

Can you did you hear that and what he discovered? Yeah? I mean I I agree with.

Richard and marina in in their kind of unequivocal support for what?

Tim said

I actually didn't get to go I was invited but listen to it online.

but weirdly I felt I'd had a preview of this because just before Christmas Tim Davey and Charlotte more invited in a number of their key Partners and

he made a similar speech to the what he made last week, where he

quoted Jonathan him- and he talked about strong institutions shared stories social capital and it was the first uh when I was in the room listening to that speech just before Christmas

I remember leaving and thinking I'm a really glad those two are running the BBC

I really feel confident that they get it that they're going to.

They've got a clear plan for how they're going to do these things and they're going to make an argument about the licence fee that's compelling.

And really well reasoned it doesn't mean they'll get every detail alright because we all make mistakes, but I I just feel like they really get what.

They they need to say and also what the BBC needs to be.

I mean there's also a feeling that sort of by 2027 which isn't that far away.

the BBC would be

kind of pretty unrecognisable or is going to go through.

a period of of quite rapid change

is that

is that a BBC thing or is that?

Any Media body in three years time is going to look a bit different.

Well, I think it might it might look different and obviously change.

I think your point is it the whole sector will change.

but I think

strangely one of the things I really resonated with in what Richard Osmond said was that maybe in the 90s and early 2000s.

you go into the BBC and you'd have conversations with people and

the kind of sense that they were funded by the licensed fee and their public purpose was there but it was absolutely sort of in the background.

Now every conversation is infused with that and I think whether.

Their commissioning for iPlayer first and not doing channels and quite the same way or any of that kind of stuff that's all secondary for me to.

Do they really understand their public purpose and is the all the key decisions?

Tied to that and that's what I was excited about in Tim's speech.

She's I really felt like he was articulating.

The importance of the BBC for decades to come not just the next three years.

and Tim was also keen to Showcase sort of the Doctor Who

model of working with the commercial sector

and this is sort of getting bigger budgets from Disney and there's such like and to kind of grow BBC brands.

Sorry, what what's not to like about about being bigger and better?

Well, I mean speaking entirely on behalf of myself as a license fee and definitely not in any way with any.

Organization's who may be clients let's get that disclaimer out there.

and so

it's a similar issue with Channel 4 isn't it for all broadcasters you have your IP and how are you going to best make use of the things that you've got that your

in this case lessons we payers have already paid for.

I thought it was interesting that.

We're actually starting to get a bit more advocacy again for the concept of a licence fee.

Because that's been something.

I've said before on this program that the conversation my entire life was always been the assumption that their licensed fear is terrible.

and rather than looking at

Well, actually, maybe a licence for isn't terrible and there might be ways of making it fairer.

And so that you're not.

necessarily dragging

Call people through the court.

and

so

yeah, it's it's

the actual way that the whole model is going to be funded and whether the the BBC and the public sector funding is is has been inflexible my whole life and I don't imagine that.

It being in flex is going to suddenly get sorted out on the magic dating.

18 months time

it also John on that labour.

a likely to be slightly more positive to towards the BBC the

the current administration

yeah, although I I think everything I am here in from.

Kind of Labour Party Mr is that they're going to have no money and they know they're going to have no money and therefore.

They're not going to want to look profligate got much more chance of being.

Renewed for the long term under a Labour government, but I think the reality is it will still be it won't be.

Picked with inflation probably in quite the way it was before and it will get more challenging.

on the Doctor Who point I think

I think the BBC is really.

Woken up to the fact that when it does those deals.

It needs to be really clear about its own.

Originality and attribution I mean I know.

They did some deals around things like Peaky Blinders with Netflix where if I was to ask my children what what is Peaky Blinders on they would say Netflix they wouldn't say the BBC and I think.

That's increasingly.

Oh, they're aware of that in a way that yes, you need co-production money.

Yes, you need to make.

fewer bigger things

but you also need to make sure people know they came from the BBC because of you don't then the licence fee becomes under threat and I think they really get that and it's

there being more aggressive in how they do those content deals now.

I think if you've seen it, and there's a great article in Bloomberg this week.

I think it's the cover story of there.

of their magazine about blue

which Australian

I love blue everyone loves blue lovely so Australian show.

made by a guy who had previously worked on Charlie and Lola for the BBC in the UK

and went and basically created a an Australian Peppa Pig

ABC funded part of it to get it going.

As the local production company.

The BBC then came in after encouraging them.

And took the international and merchandise rights.

to it by

the species Studios funding it

and then

it's

it accounts for and I remembering off the top of my head.

34% of Disney plus' hours consumed

which is a which I really all of that.

I just thought was the main amazing.

and does show the importance of backing good IP

and being in the space in Australia there's been a real pushback to the ABC who kind of had this opportunity, but didn't have the money to do it.

whereas BBC Studios

could go know this is one.

This is one to back.

I mean that's where they've got to make those kind of gambles.

to to

Decide to be able to return more and more billions of pounds back into.

back into the licence fee funded BBC and we're seeing ever more things moving to be BBC studio, so that some of that IP can be exploited into nationally because

you know some of the the audio stuff is now moving over to BBC Studios and that will be interesting because that.

those

brands of as you like

haven't necessarily had as much exploitation and in terms of march- or other products as you might expect.

and and so

Yeah, it will be.

Interesting to see what happens as always.

Uh with that are you advocating for more Desert Island Discs merch?

I think there was a suggestion on this show a few months ago about more arches march- which I think would go down very very well either because people either really love all really hate the Arches so if they did some merch that reflected both of those opinions they probably be fine, but I saw I claim again who's created director at BBC Studios

and

on the audio side and she was saying it's a good opportunity having moved public service into.

Into studios to take some ideas that maybe BBC public service doesn't want and kind of pump them out to to other channels other podcasts or other places just so thoughts that you could point and John your students.

Are they thinking about IP do they want to be full participants?

In this in this new world.

Yeah, absolutely and we recognise that building relationships between writers directors.

Producers at the school

Is critical to our work I mean a good example of that.

is

You know Laurie nuns how to have set sorry.

Sex education which was created she was an idea.

She had at the school she took out she pitched Channel 4 got picked up by Netflix

So we recognise that.

They need to understand the value that they hold and how it can be exploited.

I'm fascinated by your bluey statler 34% of all viewership on Disney plus.

Yeah the hours consumed amazing.

Oh now to radio and rather unsung success story from the past decades a Community Radio

last week the dcms hosted an event where people from commercial radio.

BBC local radio off and others came together to discuss the future of the community radio sector in the UK Trevor down chair the discussions and sent us this report.

So, I thank you very much Matt the community radio symposium.

Has just come to an end.

And two of the main organising committee.

with me now Terry Lee from the CMA

and Martin steers from the UK Community Radio network.

Let's have a quick feeling for how we thought it went.

I really enjoyed the event we had lots of different people in the audience and lots of interesting conversations.

Both on stage and and you know when we're having coffee on stage.

I really enjoyed some of the chats that that came up around how Community Radio

and podcasting to work in schools and the education sector.

And it struck me hearing those conversations.

You know just how much of a role Community Radio

can have and potential funds for that sort of work if we can.

unlock the right sort of government department to fund such things because we know that Community Radio

is good for that those soft skills or power skills a communication skills organization it skills confidence.

but resources required to do it so it was good to see the minister here Julia Lopez

And we had map Peyton from Radio Center we had off call me here.

We had some big players in the sector.

Didn't we Martin I was gonna say for me.

That's the biggest takeaway and actually going into this.

That's what we want to try and do Waze

was having the room a good mix of community radio people and people from across the broadcasting and wider Civic Society you know we also have the charity commission here.

We had omni govt so you know those people were in the room whilst we have in conversations about the benefits and what Community Radio is.

and what support it needs, but then also they had an opportunity to talk and it was really interesting to hear what Matt was saying about you know the space to coexist and collaborate between

commercial and Community Radio

conversations with Chris about the opportunities with the BBC so I mean it really good.

You know bringing people together and actually you know you might be able to hear it in the background now.

It's the conversations that equally happening.

In the brakes and afterwards that I think are as important as the conversations were happening in the room because this I said a few times during the event this was all about starting conversations.

And starting looking at the future of what Community Radio is we're coming up to 20 years old.

What's the next 20 years going to look like for Community Radio it was interesting to hear people from?

the minister to Chris Burns to

Ian O'Neill from the dcms also saying

tell us what you want.

yeah, it's

I mean and maybe we'll ask and we'll get something you never know I said alright the start of the day that.

I think everyone in the room knows that things are going to change in the next year so political level in this country and

that's perhaps when we really need to be ready Community Radio to impress upon our future government.

why Community Radio is important you know Martin was on stage and and had a video from what was that doctor Allison

Hume about the research that the ukrn have done about community radio and that sort of research.

We need to have more of that.

To sort of sell.

Community Radio to order stakeholders and really proved our work because Jamie was on talking about the Australian

Model of community radio and how they have proved there were then that's why millions and millions of pounds or Dollars are pumped into the Australian Community Radio system, just one final word.

I loved the guy at the end.

Who was the angriest delegate.

I've ever heard it to conference this has been.

A very calm event nobody's got ruffled at all and suddenly a man with a flat cap from Michael's field.

When completely spare on the back row? What was all that about?

Without naming the individual I mean it just shows the passion there is for Community Radio you know people that have been running these stations.

for nearly 20 years

and I've always felt that they needed more help and support and let's be honest.

They're not wrong.

They're not wrong.

It's about how we get there that matters.

You know the community radio fund hasn't really significantly increased since it was it was founded in fact.

I think it's gone down in size.

It's certainly hasn't gone up in value in terms of invasion or the number of stations.

You know when it first launched it, was you know 400 500 thousand pounds for I think 17 or 20 stations.

There are now over 300.

I think it's close to 350 off come licensed community radio stations am FM

dab

and the fund hasn't moved so you know and and there's big talks about regulations and it's interesting obviously the dcms.

Have are just working through their consultation on the changes to analogue.

Off come today- announced that they're looking at their Consulting on how they regulate community radio through key commitments and the social gain element.

And we do need to review.

the rules and regulations for Community Radio because when the new Media bill comes in

community radio will be significantly more regulated than commercial radio so we need to look at how we protect and enshrine the purposes of community radio and it's core issues.

But also how we can be freed to be able to make the most of community radio and make sure that it's still here in 20 years time so it just shows the passion in the room.

and how you know some people you know crying out for more support because actually the more support we get the more we can do to benefit and impact in our local Communities across the country find the word from you Teri

We refer to conversation with Matt Payton from Radio cents and Chrisp burns from from local BBC and they both sent some really interesting.

things and chatting with Matt he's essentially saying

we have more in common than divides us these days community radio and the radio centre stations.

and that's good in terms of just for Community Radio go for because that was definitely not always the case and Chris Burns on stage with you Trevor

talking about how

yeah, there's more that they can do to help community radio stations more content they can share and and they'll think about it work on it.

So I think that's positive signs.

Terry thank you Martin thank you.

This is Trevor down reporting.

from Whitehall

thanks Trevor and Community Radio is a big support for many parts of the country especially those that feel left behind by some of the changes.

To local commercial radio and also recently to BBC local radio.

the huge amount of stations doing very different things

it's it's quite a vibrant sector yes, and I think what you said huge amount of stations doing a huge amount of different things is the problem and the Joy

so you've got a whole different concepts of what Community Radio can be in some places.

It's very tied to a local geographical area and other places.

It's tied around a particular.

community or a particular love of Music and

in other places it's

People who are enjoying being together and maybe the music policy is more reflected in what the individual presenter like so there's there's a huge.

And diverse and disparate nature to Community Radio there's some absolutely excellent stuff.

And I think it's challenges that.

Like well money and time because most of it is run by volunteers.

There are some stations who are able to employ a few people.

but the amount of revenue that Community Radio is able to generate at the moment is somewhat Limited

and when you are relying.

primarily on voluntary labour

it can be difficult to ensure long-term consistency in each area some places have got large teams of people and

really strong setups and other places are relying on.

a lot of hard work of a couple of people and and that that's very tricky so

it's yeah, it's a hugely disparate sector with a huge opportunity at the moment because of the

the lack of local options in some places now that many commercial broadcasters and the BBC have kind of withdrawn or reduce the number of hours that they're producing in local areas.

I think the trick is always around public purposes because that's part of the reason that community radio one of the main reasons Community Radio is are there is to deliver kind of

public purposes that can be training those would have to be output related.

And trying to align that with listeners and servicing listeners because I think.

Your public purposes also better served when you have an audience that are enjoying or consuming.

What you're making yeah, and that's the same for any station isn't if you know why you're there and who you're audience is and who your community is that you're building around.

And then you're going to have a stronger output, but the funding model is still.

it's still tricky in some places and

it will be interesting to see if

the UK sector if there's any ability for it to move to a different model and other parts of the world community radio or assess radio is done quite differently there are different models in different countries around how things are funded.

so

I think the sector is is becoming much stronger at championing itself and you've got national Bodies Like the community Media association and the community radio network or obviously organising these things and talking to dcms.

but it's it's difficult because

obviously each individual station is going to have its own views and opinions and don't necessarily have the time to contribute to a national strategy as well as running a local station.

So I suppose there isn't that by definition there isn't an a national like here's how Community Radio is going to work plan because every community has different needs.

Well, whilst I think about our own public purposes we'll take a break and we'll see you in a moment.

School

reunion the last time we shared a room there was leg warmers and raw Oscars involved.

We can't help the uncertainty around getting old friends together, but when it comes to bringing your own pensions together.

We can help transfer all your old pensions into one place.

combine go to standardlife.co.uk

transferring pensions won't be right for everyone money invested as at risk provided by Phoenix Life limited trading is standard life for full details visit standardlife.co.uk.

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And welcome back Jon and Anna here for some more news in brief more farewells as after six decades mip TV in can this coming to an end the event this month will be the last as the organiser RX eyes up a new event in London from 2025.

John considering I think we've talked about today.

Does a move to London make sense?

well, I think it's a real vote of confidence in the UK

I think when I mean I was chatting to people about it.

I don't think everybody fully understands the difference between bitcom and

my TV anyway, so I think the mitt London thing is helpful.

It will be held in the savoia.

I think is that right and it'll be adjacent to the London TV screenings.

So that's great for UK producers.

if

International buyers continue to attend but it doesn't sound much cheaper.

Than you know to be in the Savoy then it would be to be in the pallet.

if you're an international buyer so um

It'll be interesting to see what what the take-up is internationally.

I think it's great for UK producers.

And Brits might not be so happy going to not going to count anymore but quite a lot of.

Europe in the rest of the world will quite like to come to London because it's a fun place to.

To do some work and have some fun.

Yes, and I mean in terms of UK attendance as much as we like to champion production being made around the country the vast majority of the industry is in London or in commuting distance to London

so being able to if you are in the UK and you work in the industry getting to London is going to be cheaper overall than having to go and have a hotel somewhere else.

and

one of the interesting things

Yeah, funding for events is difficult exhibits is difficult.

You might well find depending on the kind of exhibitors.

You've got and where they're based and what equipment they're bringing.

And it can be quite tricky in a post brexit world to get equipment in and out of countries for exhibitions.

It's not impossible, but it's more of a headache than it used to be.

That certainly something that we've found over the last use it for years at radio Tek calm.

We have some amazing sponsors who are based internationally and it has been tricky for them sometimes to get equipment in and out of the country.

They've persevered which is why it's great.

Thank you very much to them.

And so yeah organising events is hard.

industry events funding in general for things is is

the climbing and there are more events springing up.

equally, you know spreading spreading the amount of

money that people are available to spend and the budgets that people have free so I think for a lot of this stuff.

It's actually making sure it's

in people's calendar and it's

one of the events, they are definitely going to attend and so

that I guess is the gamble here if it's not working out where they've been before it's kind of them having the publicity to say.

We're in London it's happening here.

Get it as part of your routine.

Get it as part of your budget that you're allowed to be allocated to go on on trips too and then.

I wish them luck.

so crowded marketplace though, isn't it with

series Mania content, London

you know it's

it's busy out there for buyers and

you know exhibitive stuff to decide whether they're going to go and and it's a decision.

It's an you can't you can't do everything you have to pick the ones that work for you.

something else that broke last week was the news that BuzzFeed UK which also includes tough Post UK again to move all their stuff over to the Independent

which is quite quite when I read this.

Knew that BuzzFeed was sort of having a little bit of trouble in America kind of redefining itself as well as economics.

uh but

it's John it seems quite a deal for the Independence

to sort of become a kind of millennial.

digital destination

like super Brad and

it really I might be out of the loop here.

I'm not a BuzzFeed reader or half post reader and I I kind of felt like well.

I wasn't quite sure what was in it for the Independent of the

taking on the

I mean, they talk a lot about integration and sales channels and marketing channels, but I I would have thought that that you're just adding a lot of cost.

And you've got a then think about how you're going to is the revenue absolutely going to flow I don't know.

Maybe those journalists or those tech those stuff that is about 30 staff.

I think moving across isn't it? Maybe they're just so brilliant and

it's the best deal, but it's not a world I

Fully understand well the Independent drops its print edition in 2016 which partly made it profitable.

BuzzFeed no print run

And a sort of Lost millions.

And is that a marriage Maybe that will work have the Independent worked out how to monetize their?

Digital content better so adding more more page views.

From Hof post and BuzzFeed is a good thing.

well, I imagine that there and

their accountants have gone through this quite.

Quite finally to make sure it's going to work.

I think I mean I think it it makes sense.

And both of those like huffington, Post has.

Not had the impact it had a few years ago, but for many millennials.

It's a brand that they recognise and so it having to post UK I should say and so.

if you have some

Good journalism at the Independent and you've got BuzzFeed people and huffington.

Post people who understand how to actually get traction with that content.

then

if there'd be more overlap between the the brands and the writers and the content and the and the expertise.

I'm I think it it could work really well, so

and I'm glad obviously that we've got.

some jobs that look to be secure for the next couple of years at least so that in a

nearly every time we're on This podcast there's an announcement of some horrendous number of job cuts somewhere so

having some people buying something and investing in it and thinking that it might work out.

Is is a Glimmer of Hope which is good John like all these outlets sort of have video operations.

kind of things like tasty, I think we're BuzzFeed

with your students, obviously, you're the

sort of television and film school

Do they do they see these places these digital publishers as kind of good homes for their talents?

Yeah, I I think most students.

are thinking about

you know

the Netflix high-end television premium documentary feature documentary

But increasingly actually over the last three or four years.

We've had students who have gone out struck out on their own produce branded content for people.

Work for that.

We've got a group of graduates who are basically running the twitch channels for the NBA and

So, I think I think you know it's a what I was just say you want to work.

Guys, so you know be adaptable find where the where the commissioning budget does and I think the people who have thrived in the last.

Year where downturn in commissioning?

and writer strikes have been people who have a foot in other worlds other than

traditional broadcast or streaming television you know they've they've got relationships with Commercials companies or advertisers who are still spending money.

Okay just enough time for the media quiz this week entitled.

Where's all the talent gone?

I'm going to give you a name of a celebrity or a hot Media brand.

You tell me where they can be found.

As of this week.

So buzzing with your name if you think you know the answer so and you will say.

And John you will say.

John let's play where's all the talent gone?

So, where are these people go on the question number one?

Michael Ball

and and where's old boy gone to

Radio 2 on a Sunday

morning, yes, so he sort of he's moving slots.

What's he moving to?

he's moving to Sunday Love Songs and vacated by

Steve Wright

Yes rip.

Um and for bonus point you know who's going to replace.

him on his last Sunday show

Paddy Minogue Guinness yes

well done.

Yes and Michael Ball off to radiator 2 a good choice.

Do you think

Yes.

Jon you you as a Sunday morning ready to listener.

no

Will it make you?

no, but

I have no problem with Michael Ball I think he'll be very popular.

He will I'm sure he will okay question number two where is

lion skates hit show outlander

John

John so outlander off too.

well

Amazon stroke MGM Plus

I mean, it's interesting because that MGM plus hasn't launched in the UK I think is that right it has in other territories, but not here and I think it comes out later this month so I think.

Buying that catalogue of work.

Is is a really good move I think.

Outland is huge in America isn't it? Just not here big Big Show Big Show

so, yes, so it was online skate Plus

that close at the end of fehb.

It is getting harder to remember where the shows you like are on whether or not the whole channel is closed down or not.

I feel like a subscribe to every streaming service, but I don't think I have lionsgate plus so maybe that's speaks to where this story came from.

Yes, so after prime videos MGM plus channel.

MGM plus owned by Amazon

and it's what they inherited when they bought MGM

and obviously they're putting that channel on their own channel service.

Huh.

And it's just like an advanced version of the quiz in a few years like who which which which S4 is owned by whom.

Yeah, and then write a question number 3, where is Bluey season 4 going?

We've talked about the little chaper earlier.

Is it Disney Plus

It's only-- that was it well the answer is we don't really know.

Oh, he's Let It Be the BBC and they speculation that could be the end of blue e.

season 3 finishing up and the

the guy behind blue e

Has sort of been quite mum on all of this?

Does he want to continue it or has it reached the end?

Everybody wants it to continue.

Especially the BBC whose pocketed around 2 billion from bluey, we think.

But we will have to wait and see Disney definitely want to keep it coming.

Team's pretty short sighted to end after series 3 I mean I we have a nfts graduate Mark Baker created Peppa Pig and they're celebrating 20 years this year.

And many many episodes so I think you know you've got 17 years of more episodes to go at least.

Well, reading the article.

I think there was some suggestions that could there be a film on the way.

Or something that maybe gets in the way of another series.

So scoring wise I think Anne you just slightly with there with that that bonus extra point.

So I congratulations to you you get to work out the media podcasts.

A public purposes as well as work out where blues going if you can tell us- next week that would be great.

My thanks so I'm Charles and John Wardle for joining me today and working people keep up with what you're up to.

So I am at and charles.tv also on LinkedIn and I am at Sparky and see on most spaces social media.

And I am doing a lot of different things at the moment.

I've got some technical projects on the go.

I'm sorting out radio techcon.

I am doing some training things and most excitingly.

I'm doing a lot of work in object-based media.

Bringing the industry together to agree how we're going to make that all work.

It's the future of how we're going to make radio TV film podcasts and make and consume them.

So I've got a lot of plans in that area and they they seem to be starting to come together so probably TV and John working people see all the stuff that you and school are doing.

Probably more important and interesting to follow the school rather than me but nfts film TV is our handle on pretty much everything Instagram Twitter or the rest of it.

and it's exciting time for the school because

in the budget that where they they're announced the Independent tax relief and the support for the National Theatre and the studio project in Sunderland

the government also committed to the expansion of the nfts and

we've got lots of

Plans around new course development in areas such as virtual production real time animation.

The use of generative AI we've got some apprenticeship work we're doing.

So those expansion plans will really motor ahead over the next 12 to 24 months.

Thanks to the support of the government.

And that's nfts.co and to mentioning stuff about some accessible accommodation as well.

Oh, yeah, so as long as the as well as the new course stuff one of the things.

We've really worked on over the last few years is making sure the school teaching facilities are fully accessible.

to disabled students and

What shocking is in Beaconsfield and High Wycombe where we're based as a student if you're in a wheelchair?

you can't live anywhere near the school you have to live out in Oxford or in London so we've

taken upon ourselves as part of the expansion plan

to build a dozen accessible student rooms which will mean those students will be able to live on campus and then fully access all the facilities during their time with us, so that's

really excited about that great work.

Thank you both and we'll see you all soon.

Thank you.

Thank you.

All.

That's it for today from the media podcast remember there's 25% off your first booking at the London podcast Studios

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