storytelling: Last News

Carole Horst From “The Shrink Next Door” to “We Crashed” to “Slow Burn,” the stock of podcasts as IP have soared over the past several years, with the most popular making the transition from audio stories to on-screen smash hits. But where podcast source material can and does serve as creative inspiration for successful TV and film adaptations —Amanda Seyfried nabbed an Emmy for her lead turn as Theranos CEO Elizabeth Holmes in Hulu’s “The Dropout,” which was based on a podcast — there remains intrinsic educational, artistic and pop-cultural value in podcasts for podcasts’ sake.  At Boston-based audio-first media company Double Elvis, run by chairman and CCO Jake Brennan and co-founder and CEO Brady Sadler, chairman and CCO and co-founder and CEO, respectively, of Double Elvis — “Disgraceland,” “Blood on the Tracks” and “Badlands” are among its popular podcasts centered on the bad behavior of rock stars and Hollywood denizens — podcasts are not just a means to an end, but a vessel through which to relay compelling, nuanced, entertaining tales about humanity. 

Rebecca Souw Korean film and TV story-telling has expanded and adapted under the influence of both COVID and streaming video. As a result, screenwriting today may be more in touch with audience needs, media executives in Busan heard. A panel discussion on Saturday, organized by the Busan Story Market, a new wing of the Asian Contents & Film Market (ACFM) sought to define Korean story telling and analyze why it is currently so successful. One explanation offered by Hwang Hyejung, chief content officer at Korean streamer TVing, was that writers have broadened their outlook to include more current and realistic topics. Romantic comedies and melodramas are no longer the defining genres.

GLAAD has hired Julian J. Walker as associate director, Communities of Color & Media.

Jennie Punter As Toronto director Clement Virgo and the cast of “Brother” took the stage at the Princess of Wales Theatre on the night of Sept. 9 to soak in the hometown standing ovation after film’s world premiere, a delegation of Black producers from across Canada was settling in for a week of networking ops curated by the Black Screen Office (BSO).   This year has seen Black-led CBC and BET+ historical drama series “The Porter” (recently renewed for Season two) connect with audiences and critical kudos beyond Canada; Black talent empowerment and training organizations extend their reach; and the BSO forge platforms and alliances to strengthen and amplify its advocacy, research and funding development work. 

Children were treated to a special storytelling session at Polkemmet Country Park in Whitburn from lovable Road Safety Scotland character Ziggy.

Cherien Dabis When I was offered the opportunity to direct the “Only Murders in the Building” episode “The Boy From 6B,” which focuses on the story of a deaf character, I knew instantly that I had to do it. It was precisely the kind of story that excites me, a story told from a point of view we rarely get to see, portraying a character from a community that’s underrepresented and misrepresented. I’ve built my career upon telling stories about marginalized communities, and by doing so, I’ve attempted to push us all out of the margins and into the center.

It’s been nine months since then-head of TriStar Television Kathryn Busby was named President Of Original Programming for Starz. In her first nine months on the job, Busby has embraced and expanded the network’s existing programming commitment to narratives by, about and for women and underrepresented audiences as well as its #TakeTheLead Initiative to amplify diverse voices.

Whitney Friedlander While saltier reality shows including Bravo’s “Real Housewives” franchise and HBO Max’s “FBoy Island” are still very much a thing — and very popular — there has also been a bumper crop of “nice” reality programming infiltrating the arena.And, it turns out, Television Academy voters are fans. A look at the reality categories in this year’s Emmys race include Netflix’s A-for-effort baking competition series “Nailed It!,” the long-running, pride-focused VH1 series “RuPaul’s Drag Race” and both NBC’s mentorship musician series “The Voice” and its goofysweet crafts program “Making It.” Even the vibe of perennial Emmy nominee, Bravo’s “Top Chef,” comes with a message of respect for the artistry of cooking.

Cynthia Littleton Business EditorWhen he was fresh out of USC’s School of Dramatic Arts in the mid-1990s, Danny Strong’s goals were modest. The future multihyphenate just wanted to be able to pay his rent with his earnings as an actor.It took about 18 months, but he got there.

explore further some of the many great minds who have pondered its wider and deeper meanings. The role I’m singing is the old knight Gurnemanz. Bizarrely, despite being the longest role of the opera by a clear hour, in terms of notes sung, he is not one of the main characters of the story.

Johnny Lin I work in the film industry, so storytelling is in my nature. There is an invaluable power to storytelling; stories are what allow us to connect. They are a tool that can be used to inspire others and provide them with an entirely different perspective — an ability that has always been critical, and this has become even more apparent in today’s social climate.

MTV Entertainment Studios today announced that USC’s Annenberg Inclusion Initiative will become the long-term home of the Mental Health Storytelling Initiative. The effort was spearheaded last year by MTVE, who brought together a coalition of over 60 entertainment media companies and mental health expert organizations to raise awareness and change the narrative on mental health.

Peter Bart and Mike Fleming Jr. worked together for two decades at Daily Variety. In this occasional column, two old friends get together and grind their axes, mostly on the movie business.

For a brand that touts its genius at “storytelling,” the Magic Kingdom faces ever-growing problems in telling its own story.

Livingston will be home to tall tales, fabulous fiction, and amazing anecdotes this summer with the launch of a new storytelling festival organised by local social enterprise, Spark.

Holly Jones In collaboration with Hot Docs 2022, Chiledoc announced that the Toronto-based festival will showcase seven Chilean documentaries as part of its Made In Chile strand. Screening from April 29, the selections highlight the burgeoning global impact of Chile’s spirited documentary film initiative, encompassing diverse and bold perspectives from new voices nationwide.As North America’s largest documentary film festival, conference and market, Hot Docs strives to forge essential relationships that lead to production opportunities for documentary filmmakers with a keen eye on the global market.“We are excited to celebrate and spotlight this new movement of documentary filmmakers from Chile,” shares Shane Smith, director of programming for Hot Docs. “Their bold and daring approach to reexamining their country’s multifaceted history while crafting powerful and distinctively Chilean stories is making the documentary industry, and the world, take notice.” Made in Chile bows, indeed, just days after “My Imaginary Country,” from Patricio Guzmán, the doyen of Chilean documentary filmmakers, was selected for a special screening at the Cannes Festival.Paula Ossandón, director of Chiledoc, the sectorial brand for Chilean documentary, elaborates on the state of documentary filmmaking in Chile: “The production of documentaries in Chile is prolific.

Zuri Adele’s case, imitation and information go in both directions.On Freeform’s hit show Good Trouble, Adele portrays Malika Williams, a headstrong social justice enthusiast from a scarred childhood. A spinoff of another hit teen and family program, The Fosters, Good Trouble is a snapshot of the intertwined lives and dramas of millennials from different walks of life converging in downtown Los Angeles.

Jazz Tangcay Artisans EditorTo underscore the strange spin on work-life balance in the new Apple TV Plus series “Severance,” cinematographer Jessica Lee Gagné worked closely with production designer Jeremy Hindle on a variety of subtle lighting choices to deliver a world of contrast to audiences.In the sci-fi drama, which is currently streaming, workers at tech company Lumon Industries have agreed to be microchipped, dividing their memories between home and office.The corporate world of Lumon is windowless and sparsely furnished, with stark white walls, a deep green carpet and four cubicles for new employee Mark, played by Adam Scott, and co-workers Helly (Britt Lower), Irving (John Turturro) and Dylan (Zach Cherry). Gagné was able to find lighting cues and nuances in the script to offer variation in the overwhelming white office.

Nick Vivarelli International CorrespondentThe Turkish TV market is being shaken up by the arrival of more U.S. streaming platforms, which are driving up production costs, but also providing a new burst of opportunity for talent, content creators and producers.Netflix, which launched in Turkey in 2016, is the country’s streaming market leader when it comes to subs — said by insiders to be just shy of 7 million — and in terms of its local originals’ output.Disney Plus, which is expected to bow this summer, is busy mounting multiple Turkish productions that are still being kept under wraps, while HBO Max just entered the market and is also active in production.Amazon Prime Video is also expected to start churning out Turkish originals in 2023.

The Peabody Awards on Thursday unveiled 12 winning digital and interactive projects and four special awardees as part of the organization’s inaugural Digital and Interactive Storytelling honors.

Vivienne Chow A wider representation of gender roles, more training opportunities for women filmmakers, and reaching out to women audiences are all ways forward to promote women-centric stories in Southeast Asian cinema, say women filmmakers from the region.The lively discussion involving Thai-American director Pailin Wedel (“Hope Frozen”), Indonesian actor Marissa Anita (“Ali & Ratu Ratu Queens”), Malaysian producer Lina Tan (“Sa Balik Baju”), and Filipino writer and producer Tanya Yuson (“Trese”) was staged by Netflix Asia on Wednesday.It concluded that streamers that can reach a wider audience online have already been making a positive impact on the industry as they help to find new audiences abroad, while also creating more opportunities for women filmmakers and diversity in storytelling. Works by the four panelists are all available on Netflix, which has been upping its game in Asia, particularly through its investment in local originals.Gender representation across Southeast Asia film and television content can vary widely.