How Atomic's creative team subverts expectations and delivers spectacle

“The dark side isn’t the tech. - It’s the moment you stop thinking.” Filmmaker Ryan Patterson (Queen One Studios) calls out the quiet danger of creative automation, and why true storytellers still matter. Full Episode → https://lnkd.in/gM3ccq7S #DisruptorConfessions #AIFilmmaking #AIStorytelling #Creativity #DigitalDisruption

The micro drama snowball keeps growing... "there’s always the prospect that all of this is just another Quibi, which attracted $1.75 billion in investment before it folded in late 2020, just months after it launched to great fanfare. Zuiker, the CSI creator who is producing verticals for GammaTime, doesn’t think it is. “Number one, I don’t think the consumptive nature of shortform content tangibly in your pocket is a fad,” "It’s an interesting writing challenge, he says, to keep viewers swiping every few minutes to see what happens next, especially when he only has three actors and one and a half locations. He appreciates that GammaTime is quick to greenlight, produce and release its series (often in six to eight weeks), in contrast to the increasingly tortuous process that TV writers and producers experience with studios and streamers, where development can take years." https://lnkd.in/eQSuu9Z7

✨ Garry Talks Film: Jake & Luke Morgan ✨ What happens when you grow up with only a VCR, a recycled Disney tape, and a brother who’ll mock you for crying at The BFG? You get the Morgan brothers: Galway’s most dynamic filmmaker-composer duo, taking Irish creativity from homemade movies to musicals on London’s West End. 🎭 On this episode, Garry sits down with Jake and Luke Morgan—sibling collaborators, bandmates, and self-made storytellers. Their journey weaves from grunge gigs and beanie babies, to award-winning work in theatre and film. -------------------- 🔹 How “Froggy” went from kitchen-table feature to Santa Barbara screenings—without state funding (but plenty of Galway favours). 🔹 The un-glam reality of chasing Screen Ireland funding: patience, rejection, and a lot of “are you twins or Irish twins?” 🔹 Surviving the creative industry: Divide & conquer, support each other, and marry someone with a real job. -------------------- The Morgans dish out honest advice and sharp humour: 🎥 You don’t win at filmmaking by waiting for permission—sometimes you just have to tape over Aladdin and hope for the best. 🎭 Theatre is pure chaos but pure magic—and, yes, you will swear “never again” after every show. 🎬 Building an Irish film company means scaling up for musicals, scaling down for crisis calls, and being okay with both. Whether you’re an aspiring artist, a Galway local, or just curious about how two brothers keep working (and laughing) together, this episode’s got heart, banter, and hard-earned wisdom. 🎙️ Listen now wherever you get your podcasts. 📺 Watch the full chat on YouTube & Spotify. 💛 Kindly supported by Gréasán na Meán Skillnet & WRAP Commission. #IrishFilm #GaryTalksFilm #GalwayCreatives #Filmmaking #Podcast Jake Morgan Luke Morgan Garry Kelly

In the 1970s, TV executives weren’t allowed anywhere near the movie business. Barry Diller became the first to cross that line, defying industry snobbery and reshaping how films were developed. He explains how taking risks, failing early, and ignoring Hollywood’s “rules” set the stage for a new era of creativity. Full episode out now. Link in the comments.

In our latest Wider Lens video, we hear from Production Designer Paul Austerberry and Location Manager Mark Logan on creating a 1960s version of Stephen King's most infamous fictional town. 🎈 Paul and Mark discuss their collaboration on the new HBO series #ITWelcomeToDerry, the prequel to the It films. Discover how these two departments worked together to create this eerie world and get ready for Sunday's terrifying new episode!

Success in Episodic Form: Dispatch Sells Over One Million Copies The superhero workplace comedy Dispatch, from AdHoc Studio, has already sold over a million copies. Even more impressive is the fact that the episodic structure continues to gain traction with each new release. "It's always a little strange when the numbers get so big you have to talk about them," says Michael Choung, Executive Producer and CEO at AdHoc Studio. "A week ago, we were just as thrilled watching Let's Plays and reaction videos. But milestones like this matter. They mean AdHoc will be able to make more story-driven episodic originals, and we hope it means it'll be easier for other devs to do the same. Hard to believe we're only halfway done." https://lnkd.in/eZ6Qyz-H

Hollywood is feeling the effects of the trade war while struggling to convince consumers to watch movies in actual movie theaters https://lnkd.in/eV8npKKb Sean Fennessey joins Max Chafkin and Stacey Vanek Smith on the Everybody's Business podcast to discuss one shining star — the horror movie genre.

What Anders Niels Uth-Buur Berg captures so well in this month’s #FutureFrame isn’t just the universality of crime drama — it’s the strategic lesson behind it. #Crime travels because its psychology is borderless: rules broken, order restored, tension released. But its endurance also exposes a paradox for independent producers — familiarity still sells, yet differentiation now depends on tone. The real competitive edge lies in how producers package that tone: finding the balance between comfort and disruption, between what viewers expect and what still surprises them. Those who master that equilibrium will define Europe’s next export wave — whether it’s noir, comedy, or something in between. I’m curious how other producers are adapting their slates to this tonal shift. Are you experimenting, or doubling down on proven formats? 👉 Full feature in the October issue of #FutureFrame (link in the original post)

A cultural icon entering another era And a fanbase asking bigger questions than ever Film News Blitz breaks down the latest episode of A Friendly Film Take, where the team explore the future of Doctor Who, a franchise constantly reinventing itself, yet still navigating the pressure of modern TV expectations. With the BBC confirming the show’s next return in 2026, the podcast dives into: • The shift away from the Disney+ partnership • Russell T Davies’ involvement in the upcoming special • What the Ncuti Gatwa era means for the show moving forward • The creative risks (and opportunities) facing the next regeneration It’s a grounded, fan-led look at how one of Britain’s most historic TV properties keeps evolving and what could define the next chapter of the TARDIS. 👉 Read the full article via Film News Blitz: https://lnkd.in/eReJYYz7

Two Nollywood releases, Gingerrr and The Herd, have propelled Nigeria’s box office to new heights, amassing a combined N573.2 million in ticket sales, according to the latest data from the Nigerian Box Office. The increase highlights the growing commercial power of homegrown films and the rising audience appetite for locally produced titles. The review period, which covered late September through October 2025, saw Gingerrr and The Herd dominate cinema screens nationwide. Both movies recorded N435.5 million and N137.7 million, respectively. Gingerrr, directed by Yemi Morafa and backed by executive producers Bolaji Ogunmola, Kiekie, and Bisola Aiyeola, debuted with an impressive N82.8 million, showing the continued strength of Nollywood’s action-comedy slate. In its opening three days, it earned N78.9 million before surpassing N82 million by the close of its first weekend. Six weeks after release, Gingerrr has climbed to a cumulative N435.5 million, making it one of the highest-grossing Nigerian titles of the year, so far. The film’s vibrant cast including Aiyeola, Bimbo Ademoye, and Timini Egbuson, helped draw audiences, while its comedic tone and fast-paced action resonated strongly with younger viewers.