Jessica Ryan
@jessicaryan
Piratical pioneer of experiences live on the Internet (circa 2013) // CEO Broadway Unlocked, your friendly theatre on the internet // Indefatigable advocate for arts
Jessica Ryan
watch.broadwayunlocked.com
The New Film & TV Playbook: Why "Everywhere the Audience Is" Wins | Jesse Ikeman | 10 comments
linkedin.com
The traditional model is: make a thing, sell a few big licenses, call it a day. Now it's: make a thing, sell what you can up front, then go wide—AVOD, FAST, TVOD, SVOD, and social video; so the audience can actually find it.
The economic center of gravity has shifted from courting corporate buyers to serving consumer demand at scale.
We know that fans and fandom properties that were once on the periphery are now at the cultural center. We have been imbued with power and we have become part of a cultural–and political–war.
Shawn Taylor • We the Fans: How Our Powers Can Change the World - Pop Culture Collaborative
Mara Isaacs and Octopus Theatricals announce creation of genre-fluid media platform
Michael Abourizkbroadwaynews.com
“In the entertainment industry, the various genres tend to live in separate and isolated ecosystems,” Isaacs said in a statement. “As a producer and builder of worlds, I’m interested in bringing people together. The artists we work with refuse to limit their vision to any one sector, and Octoverse Media will be there to support them regardless of genre.”
Unified Video Strategy and Ad Revenue analytics
BARLOW I’ve been livestreaming while singing and songwriting for an audience since I was a teenager. It’s like a muscle; the more you do it, the better you get at it. Emily has classic training and is incredibly educated in her craft. I am not, so it was just sort of my process to gain an audience’s perspective on what they thought and how I could... See more
Julia Jacobs • TikTok to the Grammys: How a ‘Bridgerton’ Musical Beat Broadway (Published 2022)
Broadway Unlocked and IP Strategy
The library-building approach—where studios indefinitely own and exploit creative works—belongs to the pre-digital era. It's a business model designed for scarcity, not abundance.
“In my head, there was no way this was going to happen,” Bear added. “We just wanted to put out the album for the people that followed the whole process of it.”
Julia Jacobs • TikTok to the Grammys: How a ‘Bridgerton’ Musical Beat Broadway (Published 2022)
Where were you each at before this came into your lives?BARLOW We were both really depressed. It is hard to break into the music industry, and I was ready to give up. I was applying for record-label receptionist jobs and crying to my parents because they had been helping to support me in Los Angeles and they were like, “You need to get a real job.... See more
Julia Jacobs • TikTok to the Grammys: How a ‘Bridgerton’ Musical Beat Broadway (Published 2022)
As it turns out, the constrained opportunity of the Creator Economy hasn’t lived up to its sky-high expectations. As many creators quickly learned, finding 1,000 true fans is something very few people are actually able to do. Most creators can’t break through platforms’ algorithms. Most creators are not marketing experts. Most creators are not... See more