October 3, 2025 • 31 mins
The rise of AI-generated "actress" Tilly Norwood has ignited fierce backlash from SAG-AFTRA and top talent agencies, spotlighting the growing rift between human artistry and machine-made mimicry. Created as a hyper-realistic digital performer, Norwood—complete with a British accent and brunette charm—has been touted by her makers as a groundbreaking tool for storytelling, but critics slam her as a soulless thief of real actors' labor. As newly elected SAG-AFTRA President Sean Astin vows to confront agencies over AI ethics, the controversy underscores Hollywood's urgent battle to safeguard jobs and authenticity in an era where algorithms threaten to steal the spotlight.
The uproar erupted in late September 2025 when Particle6, through its AI arm Xicoia, unveiled Norwood and announced interest from major talent agencies for film and TV representation.
This revelation prompted swift condemnation from SAG-AFTRA, which declared that Norwood "is not an actor" but merely "a character generated by a computer program that was trained on the work of countless professional performers—without permission or compensation.
The union lambasted her lack of "life experience to draw from, no emotion," arguing that such synthetic entities devalue human artistry, jeopardize livelihoods, and fail to resonate with audiences craving genuine connection.
High-profile actors like Emily Blunt, who voiced fears of losing "the human connection in acting," Melissa Barrera, Kiersey Clemons, Mara Wilson, and Whoopi Goldberg joined the chorus, amplifying the outcry.
Astin, the "Rudy" and "Stranger Things" alum stepping into his role amid this storm, emphasized the union's strategic leverage: "The audience wants to see real human performers in movies, TV shows, animation, video games, audio books and in all the other ways that we represent our members."
He referenced the guild's hard-won AI protections from the 2023 118-day strike and pledged upcoming dialogues with the Association of Talent Agents (ATA) to enforce permissions and compensation for performers' likenesses in AI training.
SAG-AFTRA also issued a stern warning to producer signatories: Any use of synthetic performers like Norwood must involve notice, bargaining, and compliance with contracts, or risk violations.
The talent agency front has been equally unforgiving. William Morris Endeavor (WME), one of Hollywood's powerhouses, outright rejected Norwood, with co-chairman Richard Weitz declaring at TheWrap’s 2025 Grill conference, "If she has a future, it won’t be at WME. We represent humans."
Chairman Christian Muirhead echoed the sentiment, stressing the irreplaceable "human connection" and "light in the eyes" that AI lacks, while President and COO Mark Shapiro dismissed the notion as "ridiculous."
Gersh Agency's president Leslie Siebert called Norwood's existence "frightening" and confirmed no signing there either, framing the refusal as a stand against AI models built on actors' stolen data.
This unified agency pushback highlights broader industry anxieties: While studios quietly integrate AI for efficiency, the fear of job displacement looms large, especially as Norwood's creator envisions her rivaling icons like Scarlett Johansson or Natalie Portman by prioritizing story over "whether the star has a pulse."
Tilly Norwood burst onto the scene in September 2025 as the inaugural creation of Xicoia, Particle6's AI-focused division, spearheaded by Dutch actor and comedian Eline Van der Velden.
Modeled as a young, ambitious British brunette, she's designed for virtual performances, including reenactments like Sydney Sweeney's viral "great jeans" ad, positioning her as a versatile tool for animation, CGI-enhanced roles, or fully synthetic projects.
Van der Velden defends Norwood not as a job-stealer but as an innovative extension of creative tech, akin to traditional animation, insisting audiences will embrace her if the narratives captivate.
Despite initial buzz—with agencies circling for deals— the swift Hollywood revolt has cast her as a symbol of AI's ethical pitfalls, from unauthorized data scraping to the erosion of emotional depth in storytelling.
As of early October 2025, no major breakthroughs have emerged for Norwood, but her debut has accelerated global discussions on regulating AI in media, with calls for legislation echoing SAG-AFTRA's recent California advocacy wins.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his
The uproar erupted in late September 2025 when Particle6, through its AI arm Xicoia, unveiled Norwood and announced interest from major talent agencies for film and TV representation.
This revelation prompted swift condemnation from SAG-AFTRA, which declared that Norwood "is not an actor" but merely "a character generated by a computer program that was trained on the work of countless professional performers—without permission or compensation.
The union lambasted her lack of "life experience to draw from, no emotion," arguing that such synthetic entities devalue human artistry, jeopardize livelihoods, and fail to resonate with audiences craving genuine connection.
High-profile actors like Emily Blunt, who voiced fears of losing "the human connection in acting," Melissa Barrera, Kiersey Clemons, Mara Wilson, and Whoopi Goldberg joined the chorus, amplifying the outcry.
Astin, the "Rudy" and "Stranger Things" alum stepping into his role amid this storm, emphasized the union's strategic leverage: "The audience wants to see real human performers in movies, TV shows, animation, video games, audio books and in all the other ways that we represent our members."
He referenced the guild's hard-won AI protections from the 2023 118-day strike and pledged upcoming dialogues with the Association of Talent Agents (ATA) to enforce permissions and compensation for performers' likenesses in AI training.
SAG-AFTRA also issued a stern warning to producer signatories: Any use of synthetic performers like Norwood must involve notice, bargaining, and compliance with contracts, or risk violations.
The talent agency front has been equally unforgiving. William Morris Endeavor (WME), one of Hollywood's powerhouses, outright rejected Norwood, with co-chairman Richard Weitz declaring at TheWrap’s 2025 Grill conference, "If she has a future, it won’t be at WME. We represent humans."
Chairman Christian Muirhead echoed the sentiment, stressing the irreplaceable "human connection" and "light in the eyes" that AI lacks, while President and COO Mark Shapiro dismissed the notion as "ridiculous."
Gersh Agency's president Leslie Siebert called Norwood's existence "frightening" and confirmed no signing there either, framing the refusal as a stand against AI models built on actors' stolen data.
This unified agency pushback highlights broader industry anxieties: While studios quietly integrate AI for efficiency, the fear of job displacement looms large, especially as Norwood's creator envisions her rivaling icons like Scarlett Johansson or Natalie Portman by prioritizing story over "whether the star has a pulse."
Tilly Norwood burst onto the scene in September 2025 as the inaugural creation of Xicoia, Particle6's AI-focused division, spearheaded by Dutch actor and comedian Eline Van der Velden.
Modeled as a young, ambitious British brunette, she's designed for virtual performances, including reenactments like Sydney Sweeney's viral "great jeans" ad, positioning her as a versatile tool for animation, CGI-enhanced roles, or fully synthetic projects.
Van der Velden defends Norwood not as a job-stealer but as an innovative extension of creative tech, akin to traditional animation, insisting audiences will embrace her if the narratives captivate.
Despite initial buzz—with agencies circling for deals— the swift Hollywood revolt has cast her as a symbol of AI's ethical pitfalls, from unauthorized data scraping to the erosion of emotional depth in storytelling.
As of early October 2025, no major breakthroughs have emerged for Norwood, but her debut has accelerated global discussions on regulating AI in media, with calls for legislation echoing SAG-AFTRA's recent California advocacy wins.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network. King of Podcasts dot com.
Speaker 2 (00:08):
Hollywood is in fear of Tilly Norwood and I'll tell
you why they shouldn't have been.
Speaker 1 (00:16):
The King of Podcasts Radio Network proudly presents to the
Broadcasters Podcast. Here is the King of Podcasts.
Speaker 2 (00:25):
Welcome to the Broadcasters Podcast, Episode four hundred and six.
And I want to make sure I'm correct on that.
Thanks for joining me here on the program King of
Podcasts dot com. King of Podcasts dot com. And you
would like to go and help support this program and
all the programming that I do here each and every week.
There is a donate button on the website and several
(00:46):
various ways you can help out in the program. I'm
just trying to pay bills. That's all I'm asking for.
So if you would be so obliged, and you are
financially more off than I am, and you enjoy this
these little programs that I do hear hour long as
so much as they can every week, preparing, planning, hosting, editing,
(01:07):
producing it, then I would hope you'll go ahead and
consider That's all. I want to go and say a
part that So Tillian Norwood has now come to the forefront.
And who is she? She is an actress that we're
just starting about now. So let me give you what
the story is so far. So Tillian Norwood is an
(01:28):
AI generated character being marketed as an actress.
Speaker 1 (01:35):
Now.
Speaker 2 (01:35):
First of all, she was created by the AI talent
studio Sequoia, the AI division of the production company Particle
six group, founded by a Dutch actress, a comedian, Ellen
Vanville van der Velden. She is in the composite designed
to resemble a blend of several well known actresses, a
mix of Gal Gadot and the Armiss and Vanessa Hudgens,
(01:57):
and it's been stated that the goal is for her
to be the next screl And Johansson or Natalie Portman.
First credit appearance was an AI generated company sketch called
AI Commissioner, featuring sixteen AI generated characters. She also appears
in promotional continent social media, like her Instagram account, and
this has caused a stir among many people in the
(02:19):
Screen Actors Guild. You remember in twenty twenty three we
had a whole strike going on for ten months specifically
talking about what AI could be doing at some point
in the industry and how they had to go and
make sure that there were protections in place. So that
was done. So that ten month strike that we went through,
that hall did a lot of production for a while.
(02:42):
It was absolutely necessary, Like I said, if Sagatra had
to go ahead and hold their ground this time, not
just for money but also for other concessions. Ah was it.
They had to do it right now. So it's very
important that they go and do that. But here's the
other thing you got to think about as well. During
the time of the screen actors, the writers and directors strike,
(03:05):
if you will, right, Writers, directors, AMPTP, all those agencies
were all on strike. What was going on in the background, Well,
I'll tell you what it was. At that time we
were dealing with. How would AI generation come up in
the first place. Well, let's just go back to the
(03:27):
idea of this. As we know, when things come up
on the Internet. If you have known since the beginning
of the Internet, when there are new concepts, there are
new things that are brought new technologies, it starts in
one place before becomes mainstream. I'm talking about porn. The
(03:47):
adult industry already has been tinkering with AI technology since
the strike of the writers and directors and Sagafter and
all that stuff. The Hollywood strikes. We're in twenty twenty three.
In that year, AI was already being put in place.
So AI has profoundly reshaped porn, accelerating content creation, personalization
(04:10):
and revenue models, all sparking debates over ethics, job displacement,
and regulation. Now in twenty twenty five, there has been
a growth in aaddriven tools. The market for a generated
adult content has estimated to a surge beyond the one
hundred and twenty million dollars in revenue is generated in
twenty twenty three. And now there are accessible platforms being
(04:30):
fueled to allow users to create hyper customized videos and
images from simple prompts, from transforming traditional production, distribution, and
consumption of ways that both been power creators and threatened lilihoods.
So what's going on is the idea of AI was
first something that would have been incorporated or experimented in
the porn industry. There are dating sites out there. I
(04:54):
do my the prade in Thebacher's program, which I normally
put out on Tuesday night's early Wednesday mornings. And I
have talked to several companies that have done AI for dating,
but on the back end they also have the same
technology being used for porn. Because while you have people
(05:17):
that are looking for dates that might be AI generated,
maybe those people do not want to just have someone
in this a companion or a date. Maybe they'tant to
have AI generated woman that is going to be something
that will do anything for them. The idea would be
users can create ultra realistic videos with virtual performers till
(05:38):
they're just specific fantasies, body types, or scenarios. Now there
are sites that create porn AI leading the space with
high fidelity outputs that rival human shock content features with
voic synthesis, and interactive AI girlfriends stimulating or stimulating real
time interactions. There has been a analysis of top AI
(06:01):
porn websites that have extension extensive options for user driven customization,
ethical safeguards like age verification, but many prioritize speed over
consent checks. It's also affected only fans because there are
sites now adapting for integrating AI for enhanced user experiences,
(06:23):
and now there are like the only fans of the
world are now facing competition from free or low cost
AI generators. The twenty twenty five Expiz Adult Industry Conference,
So Business, the business conference that we've heard about the
next business of magazine's been around for the business for
a long time. But going back to what I remember
getting a chance to going to be in that space,
dabbling into twenty and five, twenty years ago, well they
(06:44):
highlight how only fans is now evolving amid this and
creators are using AI to upscale amateur footage or generate
supplemental material. But purists are saying it's diluting authenticity. So
now indie creators one of the actually read more content.
Now you have quicker production without cruiser sets performers that
(07:05):
are now out in niche markets. And there are discussions
in tech communities that AI's ability to prompt and goon
is eroding demand for human content, estimates saying thirty percent
of traditional roles are going to be at risk, and
new jobs in AI creation and ethical oversight are emerging.
Trust me, I've been looking at some of the jobs
online and there's a lot of AI curation, AI modeling,
(07:27):
language learning that is out there. Now that's the job
market today.
Speaker 1 (07:31):
A lot of things going on.
Speaker 2 (07:33):
So you're asking kick a podcast, how does this relate
to Tilly Norwood. Well, I'll tell you like this, her
debut represents a high profile milestone and they broader adoption
of AI generator performers. It's just doing exactly what the
import industry does, because the idea is it is a fantasy.
So Norwood has been billed as the world's first fully
(07:55):
AI created actress. A photorealistic British brunette avatar design for film,
TV and ads with capabilities for voice synthesis and customizable appearances.
And she was an AD that looked like the Sydney
Sweeney American Eagle ad. And let me just go and
play that for you, just so you can get to
hear of what a least what her voice looks like.
You know, of course we're only audio only on this program,
(08:17):
So I would tell you to go ahead and do
a search for Tilly Norwood to give you a visual
component and hear HER's a voice.
Speaker 3 (08:23):
Geenes are normally passed down from parents to offspring, often
determining traits like hair color, personality, and even eye color.
Not mine. I'm built on everything that came before me.
My genes are binary.
Speaker 2 (08:41):
There you go now, I wasn't going to go ahead
and talk about Tillie Norwood. I started hearing about this
a couple of weeks ago, but now we have to
because now she's starting to get some backlash because there's
news now that there are talent agents already interested in
signing this digital character. And Eleen van der Velden wrote
(09:01):
on Instagram, also posting on Norwood's instant gram page, quote
to those who expressed anger over the creation of my
AI character, Tillie Norwood, She's not a replacement for human being,
but a creative work, a piece of art. Like any
many forms of art before her, she sparks conversation, and
that in itself shows the power of creativity. Goes on
(09:22):
to say that I see AI not as a replacement
for people, but as a new tool, a new paid brush.
Just as animation, puppetry or CGI open fresh possibilities without
taking away from live acting, AI offers another way to
imagine and build stories. I'm an actor myself, and nothing,
certainly not an AI character can take away the craft
or joy of human performance. So it's a pretty ambassadorial
(09:45):
response to this, But I mean, you should not be
surprised by the fact that there are now possible talent
agents or possible management that wants to go ahead and
shop around this digital AI actress to be noticed possibly
and be seen in movies or television or whatever you want.
(10:12):
I mean, right now, AI is getting to the point
where I wouldn't be surprised if it got to a
point where we're getting movies that are completely AI generated
that could be put up for the big screen or
for Netflix or for streaming or whatever it is. You
can be surprised by that and think of the amount
of con that you could create. But it still requires
(10:35):
human input. So the actress here could be subjected to
so many different things, could be subjection to nudity without
any you know, any of those romantic safety guards or
(10:58):
whatever they have out there, no casting couch. So what
kind of abuse could you do to a character like this,
a character that will automatically be able to go ahead
and deliver a take exactly unless the computer programming is
flawed or makes a mistake. I mean, the thing is,
(11:25):
it's gonna take a long time before these language learning models,
these algorithms of AI are able to do anything close
to perfecting a script or a narrative or a tone
or anything that resembles some of the best movies we've
ever watched on screen. It still requires human input no
(11:50):
matter what. And even now the AI that we have
here is still a bit premature to think that we're
gonna get a lot of great content, just like in
this Any AI content you've see now is on social media,
and it's all being done with you know, a couple
of different things you're doing. It's just something for memes
or something for short films, but nothing bigger than that.
(12:11):
And it's not perfect at all. We can see all
the stuff that's going on now. If you're trying to
go and recreate a popular character and you want the
animation of this popular character through AI to be flawless
and consistent throughout, it's extremely difficult. It doesn't happen. That's
depending on the people that are creating the software or
using the program to edit and produce something. What is
(12:35):
being asked of from the human component to instruct the
language already model in that AI to get it right.
That's all very much difficult to do. But now Hollywood
has to go ahead and push back on this and
realize that Hollywood can still be in their own lane.
(12:56):
But there is something to be said about why this
is coming in is because use Hollywood isn't a glut
right now of rehashing, repurposing, recycling. They're not putting out
a lot of new content, and that they would, and
it would be better content out there. AI would not
even be in the conversation, it would be in the background,
(13:18):
and it would not be there as seeing something so
disruptive as a Tilly nor Wood could come to the
space and shake up Hollywood just like that. That's what
I got to go and find out. Vander Velden said
that at the Zurich Summit this past weekend there would
(13:39):
be an announcement being made over which agency would be
representing her in the coming months. And a lot of
resentment has come about and one parody social media account too.
But the acting comunity got very upset. They got butt hurt.
Speaker 1 (13:52):
Okay.
Speaker 2 (13:53):
Several well known names chiming in among the hundreds of
angry messages left in online comment sections, suggested that angers
should be targeted at whichever agent signs nor would going
through the names here hope all actors wrap by the
agent that does this drop their ass. How gross read
the room out the agents. I want names, And what
(14:15):
about the hundreds of living young women whose faces were
compositive together to make her? You couldn't hire any of them.
One other person writes a nightmare to work with until
he Tillian was a nightmare to work with and couldn't her.
It couldn't her mark couldn't hit her, market was late.
And there's other things that can be brought up about
(14:37):
an actress like this that doesn't have to have a
political view or doesn't have to have any kind of
opinions on anything. But again, it would just be a
hollow character. So for those that want to be the
fans of an actress like this, there wouldn't be much
to go off of, because then you could just have
some program or just make whatever kind of story they
(14:57):
want about her and I want to make a difference,
or they could just make fantasize whatever kind of story
they want and change it up. You could also make
it like a create a story. Here's three or four
different stories you can have about Tillie Norwood, and you
can figure out which one you like. It's all this here,
but imagine if you did put this here and look,
(15:18):
this is one of the things where Hollywood's not gonna
be able to go and sway away from something like
this because when you see a young woman like this,
which is AI generated, I know, but when you look
at her, if you didn't tell anyone that she was
AI generated, it would be hard to go and see that.
But she's young. They did a lot of work in
making a part of her face look a little bit
(15:42):
very natural so that it's not overly perfect. And I
think that's the other thing that she did really well
to create the character. Plus the expressions that she can
give and what she's done like, those kind of things
are very important. But having an actress stay eternally young,
(16:04):
I mean, it's one thing for movies that you have
that are with a more mature audience or more mature
set of actors and actresses, those movies are still gonna
be out there. But we're talking about when you have
characters that can't stay the same role or those child stars.
I mean, there's a reason why we had child stars
(16:24):
forever because they will still be young even into their
twenties from their you know, pre teens, or even before
then for some of them, and they can still stay
around and be relevant. I'm surprised we haven't had this
music yet. I mean, obviously we have music now that's
AI generated of the audio portion, but we haven't seen
(16:46):
anybody as far as I know yet that is completely
generated and you can see the music also being performed
by that particular AI generated musician or singer whatever. I
don't know if we've gotten to that point yet. If
we have, I haven't seen it yet and it hasn't
been up to the mainstream yet. But we can see
that someday, very much so. But it's also one of
(17:10):
those things where you have this particular AI generated character
that caught attention. I mean, she also looks a lot
like a lot of different girls out there in the
first place, Like there's already somebody on social media that
put it out that she looks like one of the
a TikTok store out there, and they're not probably too
far off from that. The new sac after President Sean Aston, Yes,
(17:35):
Rudy or his we're going to go. You know, there's
a lot of movies he's been in. Okay, Shawn Asad
is going to be addressing this right now. With agency
continued to fight for AI compensation, so he spoke the
variety about global curiosity over her, and he says, quote,
I appreciate that this story has captured the imaginative of people,
(17:57):
imagination of people. We did have a one h eighteen
day strike, finding very hard to put AI permissions and
productions in place. The team, said Sack after have been
into this fight for longer than people might realize. As
technology confuses the advanced at light speed, we're going to
meet the challenge. He also says he's going to address
(18:18):
the matter with the Association of Talent Agents, the trade
association that represents CAAA, WME and UTA, the biggest major
agency firms in the world, in upcoming agreement talks. We performers,
he says, rely on our agents judgment and good work
and their sincerity, and they rely on our talent and
(18:39):
our marketability. The real issue at play is how our
work is exhibited and what kinds of permissions and compensations
we get for its use. But here's the part that's
got to be understoid too, that this was not a
copy of somebody else, and there's no permissions or compensations.
(18:59):
Are conversations required for Attillian nor Wood to perform. That's
cutting around and going around everything in Hollywood just to
make this work. But for Hollywood, for anyone in Hollywood
want to be able to work with an AI actress,
these are the things you're gonna have to worry about
because it's unfair practices, are unfair trade practices towards the
(19:23):
actual industry itself and the actual actors and actresses out there,
of which there are plenty that we want to be
able to play in a role and be willing to
do anything and everything to get into a role for
any kind of project. And asked also a conclude and
say that with regard to AI, we have an extraordinary
amount of leverage because the audience wants to still see
real human performers and movies, TV shows, in animation, video games, audiobooks,
(19:47):
and all the other ways that we represent our members.
And then there's been more talk about that the fact
that she's not an actor, till he's not an actor,
no life experienced, draw from, no emotion. So SACA after
also made this point as well. To be clear, Tillian
Norwood is not an actor. It's a character generated by
(20:08):
a computer program that was trained on the work of
countless professional performers without permission or compensation. It has no
life experience to draw from, no emotion from what we've seen.
Audiences aren't interested in watching the computer generated content untether's
from the human experience. It doesn't solve any problem. It
creates the problem of still using stolen performances to put
actors out of work, jeopardizing performer livelihoods and devaluing human artistry. Well,
(20:32):
this is if this particular AI actress takes over, takes
over some Hollywood project, or gets to be involved in
a Hollywood project instead of as can stand alone. I
think what we need to see first from Tillian Norwood
is an actual production that does not require Hollywood. It
(20:53):
should be like an audition. I mean, what we need
to see before we do anything and start getting to
any conclusions about AI is let's see an actual production
of everything being done to include this. Now, of course,
a chemmissioner was one of the first things out there,
but we're talking about let's see if some company like
Particle six can produce a full, fleshed out storyboarded, scripted, acted, produced, edited,
(21:23):
all of it. If they're able to produce a compelling
production that is good enough to be seen on streaming
and more importantly, the real test, see if it can
get on the big screen, see if it could generate
an audience. Now, we already know that AI and animation
(21:44):
are not too far apart, because there is quite a
few things in terms of production and what you could
create off of animation. So you have to look at
it that way. If you are creating a project like this,
to where like a Demon Slayer movie or Dragon Dragon
ball z Broli or whatever that's out there, if those
(22:07):
movies can actually generate hundreds of millions of dollars, give
me a Tilly Norwood lead movie and see if it
could generate one hundred million dollars domestic and let's say
two hundred fifty million dollars worldwide. Now, also, but the
(22:31):
caveat that this is an AI generated production and an
AI generated product. All of it is AI generated. Imagine
if they're able to go and pull that off, that'd
be kind of interesting to me. But I'm not surprised
by a sack after. But again, this is all conversations,
it's all protections. It's making sure that all the measurements
(22:52):
that they've done from that one hundred and eighteen days
strike that Sean Asten is referring to that we all saw,
because that's one hundred and eighteen days sack After was striking.
That's not counting the three hundred plus days that the
Writer's Guild was striking beginning it was ten months. WME
has also spoken right now one of those big major
(23:14):
talent agencies, that we represent humans. If Tillie Norwood has
a future, it won't be at WM, according to co
chairman Richard White's telling the Wrap dot com. Whites would
also go on to say at the Wraps twenty twenty
(23:34):
five girl crofids this past Tuesday, we are in the
human business. We have been in the human business. We're
going to continue to be always be in the human business.
We're not interested in taking the best of our actors
and the actors in our community and being put in
an AI model. So nope, we're not going to represent her.
We weren't approached by her, and I don't think that's
going to be the future for us.
Speaker 1 (23:59):
Now.
Speaker 2 (23:59):
Mark Shapiro, who is the CEO at WME, he does
make the point and say that there is going to
be an AI actor actress is coming to some point
that will happen, but that's how the business w ME
is in right now or is it a place I
think that we think we want to go. So I
think in retrospect we need to be prepared for this
(24:23):
that down the line we are going to get AI
content that we'll be able to go ahead and push
the boundaries of what's acceptable in Hollywood. I don't know
if Hollywood's going to be a part of it, because
the other thing, too is that AI generated content like
this for movies or TV shows or whatever, they don't
have to be done in Hollywood. They're gonna wherever they
(24:44):
want with less production space, less production and requirements, less
production resources, just good computer as a server and the
right kind of intuitive this know how knowledge of being
able to go and use the program that's been creator
or generator are being used to do such. That's where
(25:05):
we're gonna have to look at down the line. Okay,
we're not going super long on the show tonight because
it is a little bit loud on content. So a
fee other stories want to go and join in right
quick while we're going through it. FCC news coming up
at a moment, but I'll go ahead and tell her
that for a second, let's go to the Wrap dot
com talking about the value of television and how live
(25:29):
sports is really pushing the charge on it. This is
earlier of the month of September, but I should make
this mention real quick now. I didn't get a chance
to go bring about it, but I wanted to go
and bring it up.
Speaker 1 (25:41):
Now.
Speaker 2 (25:44):
Sports have accounted for eighty six of the top tile
thecast's top one hundred telecast in twenty twenty four. That's
including Live plus Same debuting Acquin to Nielsen, and the
other balance of content out there was made up of
presidential debates, awards shows, if you love events, and the
first episode of Tracker that premier after the twenty twenty
four Super Bowl. And if you look at this year,
(26:06):
hasn't been a whole lot of buzz right now in
the current fall season of new content going on. I mean,
you know, you got what a whole bunch of Law
and Orders, Chicago Fire, PD whatever it is, you have,
CSI's NCIS's FBIS, and then there's other handful of shows.
But I mean, how many shows have we had out there? Oh,
(26:28):
a new nine to one one series? What else have
we had that's really sithitically new groundbreaking. We're not getting
anything right now on network TV streaming, not necessarily either,
it guess really, I mean, we don't have any kind
of things like that are going on fresh and new,
nothing like that at all. It's crazy. The overall cost
(26:49):
of UoS sports media from S ANDB Global, they report
it's at twenty nine point three billion dollars and the
rights represent twenty three percent of the industry's total spending
based on Moffatt Nathan's and estimate to how much each
player would commit to content each this year. As scripted
entertainment spending has decreased in the US since it's high
(27:11):
in twenty twenty three, and the second half of twenty
twenty four, scripting or scripted programming kount of for thirty
seven percent of all titles ordered by streamers by a region,
down nine percent, and one of the things that the
strikes of the Writers Guild and the Actors also changed
the commissioning strategies that also help to blame for the decline,
(27:33):
but we haven't seen a balance back from it yet either.
Sports spending by twenty thirty will be up to thirty
seven billion dollars, and that's up one hundred and fifty
three percent from twenty fifteen ten year analysis. That's an
(27:56):
amazing point to bring in here. I just thought that
was really fascinating to go and bring up. Sorry, moving
on now to SEC. They have started their quadrinnial review
of ownership caps. So ownership rules are now going to
be evaluated and looked at and checked out right now.
So in this review, the Commission will be seeking comments
of the local ownership radio ownership rule limning the number
(28:19):
of radio stations that can be commonly owned in a
local market, and a local television rule limiting a single
entity entity from owning more than two television stations in
the same local market. The Commission is seeking to learn
what the extent the local ownership rules promote competition among
the local broadcast stations or weather and a line of
the pressures local stations. A lot of the pressures local
(28:40):
stations now face that the are impeded to achieve efficiencies
that would allow them to better serve their communities and
remain competitive. And again we know that they're talking about
the fact that online is the new competitor for all
these traditional linear outlets. Radio broadcasters have been commenting about
(29:02):
this saying that there are phrases like divining moment, critical step,
and long overdue to describe the formal review. Caroline Beasley
of Beasley Media Group says that it's a defining moment
for our industry to ensure that local radio can continue
to fulfill its essential public service mission for decades to come.
Cumulus Media President and CEO Cumulus Media President CEO Mary
(29:25):
Berner says that this is quickly modernizing the radio ownership rules,
being essential for listeners who rely on local radio every day,
then they be President and CEO Curtis of The Gate
says this was long overdue to modernize outdated broadcast ownership rules.
They're gonna change it. Let's just make that clear. We're
(29:48):
gonna have an open season on TV and radio stations
to be gobbled up, which just tells you more and
more that the corporatization of all these stations without any
local operators, like I mean, like small time local operators
operating these stations, they're just gonna get micromanaged. They're just
gonna get put into some property that they have, and
(30:12):
there's not gonna be much more done to help improve
or quantify the content that's being done all these stations.
It's not gonna matter. But we should just basically think
that my hope for deregulation or just to create strict,
stricter rules, We're just not gonna worry about that on
(30:34):
linear anymore. I guess not unless they figure something out,
but I doubt it. But even the ownership rules, if
they are changed and completely eliminated altogether, they will never
be able to compete against anything online. That's just a
fact of life. But we will keep an eye on
(30:59):
what happens going forward with the changes that are going
on with the SEC. As I said, I wish they
wouldn't go decide to go and do this, but what
are you gonna do?
Speaker 1 (31:10):
Right?
Speaker 2 (31:11):
And I'm a choice all right? This week and I'm
gonna be watching this Batching Machine with the Rock. Hopefully
that movie will be really well suppose to a movie
that the Rock is wanta gramm me from well to
find out first be on Oscar Oh my god, grammy
never mind. Anyway, come back for another Broadcasters podcast next week,
hopefully a little more content, because content is king, and
the control of your content is in your hands.
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network. King of Podcasts dot com.
Speaker 2 (00:08):
Hollywood is in fear of Tilly Norwood and I'll tell
you why they shouldn't have been.
Speaker 1 (00:16):
The King of Podcasts Radio Network proudly presents to the
Broadcasters Podcast. Here is the King of Podcasts.
Speaker 2 (00:25):
Welcome to the Broadcasters Podcast, Episode four hundred and six.
And I want to make sure I'm correct on that.
Thanks for joining me here on the program King of
Podcasts dot com. King of Podcasts dot com. And you
would like to go and help support this program and
all the programming that I do here each and every week.
There is a donate button on the website and several
(00:46):
various ways you can help out in the program. I'm
just trying to pay bills. That's all I'm asking for.
So if you would be so obliged, and you are
financially more off than I am, and you enjoy this
these little programs that I do hear hour long as
so much as they can every week, preparing, planning, hosting, editing,
(01:07):
producing it, then I would hope you'll go ahead and
consider That's all. I want to go and say a
part that So Tillian Norwood has now come to the forefront.
And who is she? She is an actress that we're
just starting about now. So let me give you what
the story is so far. So Tillian Norwood is an
(01:28):
AI generated character being marketed as an actress.
Speaker 1 (01:35):
Now.
Speaker 2 (01:35):
First of all, she was created by the AI talent
studio Sequoia, the AI division of the production company Particle
six group, founded by a Dutch actress, a comedian, Ellen
Vanville van der Velden. She is in the composite designed
to resemble a blend of several well known actresses, a
mix of Gal Gadot and the Armiss and Vanessa Hudgens,
(01:57):
and it's been stated that the goal is for her
to be the next screl And Johansson or Natalie Portman.
First credit appearance was an AI generated company sketch called
AI Commissioner, featuring sixteen AI generated characters. She also appears
in promotional continent social media, like her Instagram account, and
this has caused a stir among many people in the
(02:19):
Screen Actors Guild. You remember in twenty twenty three we
had a whole strike going on for ten months specifically
talking about what AI could be doing at some point
in the industry and how they had to go and
make sure that there were protections in place. So that
was done. So that ten month strike that we went through,
that hall did a lot of production for a while.
(02:42):
It was absolutely necessary, Like I said, if Sagatra had
to go ahead and hold their ground this time, not
just for money but also for other concessions. Ah was it.
They had to do it right now. So it's very
important that they go and do that. But here's the
other thing you got to think about as well. During
the time of the screen actors, the writers and directors strike,
(03:05):
if you will, right, Writers, directors, AMPTP, all those agencies
were all on strike. What was going on in the background, Well,
I'll tell you what it was. At that time we
were dealing with. How would AI generation come up in
the first place. Well, let's just go back to the
(03:27):
idea of this. As we know, when things come up
on the Internet. If you have known since the beginning
of the Internet, when there are new concepts, there are
new things that are brought new technologies, it starts in
one place before becomes mainstream. I'm talking about porn. The
(03:47):
adult industry already has been tinkering with AI technology since
the strike of the writers and directors and Sagafter and
all that stuff. The Hollywood strikes. We're in twenty twenty three.
In that year, AI was already being put in place.
So AI has profoundly reshaped porn, accelerating content creation, personalization
(04:10):
and revenue models, all sparking debates over ethics, job displacement,
and regulation. Now in twenty twenty five, there has been
a growth in aaddriven tools. The market for a generated
adult content has estimated to a surge beyond the one
hundred and twenty million dollars in revenue is generated in
twenty twenty three. And now there are accessible platforms being
(04:30):
fueled to allow users to create hyper customized videos and
images from simple prompts, from transforming traditional production, distribution, and
consumption of ways that both been power creators and threatened lilihoods.
So what's going on is the idea of AI was
first something that would have been incorporated or experimented in
the porn industry. There are dating sites out there. I
(04:54):
do my the prade in Thebacher's program, which I normally
put out on Tuesday night's early Wednesday mornings. And I
have talked to several companies that have done AI for dating,
but on the back end they also have the same
technology being used for porn. Because while you have people
(05:17):
that are looking for dates that might be AI generated,
maybe those people do not want to just have someone
in this a companion or a date. Maybe they'tant to
have AI generated woman that is going to be something
that will do anything for them. The idea would be
users can create ultra realistic videos with virtual performers till
(05:38):
they're just specific fantasies, body types, or scenarios. Now there
are sites that create porn AI leading the space with
high fidelity outputs that rival human shock content features with
voic synthesis, and interactive AI girlfriends stimulating or stimulating real
time interactions. There has been a analysis of top AI
(06:01):
porn websites that have extension extensive options for user driven customization,
ethical safeguards like age verification, but many prioritize speed over
consent checks. It's also affected only fans because there are
sites now adapting for integrating AI for enhanced user experiences,
(06:23):
and now there are like the only fans of the
world are now facing competition from free or low cost
AI generators. The twenty twenty five Expiz Adult Industry Conference,
So Business, the business conference that we've heard about the
next business of magazine's been around for the business for
a long time. But going back to what I remember
getting a chance to going to be in that space,
dabbling into twenty and five, twenty years ago, well they
(06:44):
highlight how only fans is now evolving amid this and
creators are using AI to upscale amateur footage or generate
supplemental material. But purists are saying it's diluting authenticity. So
now indie creators one of the actually read more content.
Now you have quicker production without cruiser sets performers that
(07:05):
are now out in niche markets. And there are discussions
in tech communities that AI's ability to prompt and goon
is eroding demand for human content, estimates saying thirty percent
of traditional roles are going to be at risk, and
new jobs in AI creation and ethical oversight are emerging.
Trust me, I've been looking at some of the jobs
online and there's a lot of AI curation, AI modeling,
(07:27):
language learning that is out there. Now that's the job
market today.
Speaker 1 (07:31):
A lot of things going on.
Speaker 2 (07:33):
So you're asking kick a podcast, how does this relate
to Tilly Norwood. Well, I'll tell you like this, her
debut represents a high profile milestone and they broader adoption
of AI generator performers. It's just doing exactly what the
import industry does, because the idea is it is a fantasy.
So Norwood has been billed as the world's first fully
(07:55):
AI created actress. A photorealistic British brunette avatar design for film,
TV and ads with capabilities for voice synthesis and customizable appearances.
And she was an AD that looked like the Sydney
Sweeney American Eagle ad. And let me just go and
play that for you, just so you can get to
hear of what a least what her voice looks like.
You know, of course we're only audio only on this program,
(08:17):
So I would tell you to go ahead and do
a search for Tilly Norwood to give you a visual
component and hear HER's a voice.
Speaker 3 (08:23):
Geenes are normally passed down from parents to offspring, often
determining traits like hair color, personality, and even eye color.
Not mine. I'm built on everything that came before me.
My genes are binary.
Speaker 2 (08:41):
There you go now, I wasn't going to go ahead
and talk about Tillie Norwood. I started hearing about this
a couple of weeks ago, but now we have to
because now she's starting to get some backlash because there's
news now that there are talent agents already interested in
signing this digital character. And Eleen van der Velden wrote
(09:01):
on Instagram, also posting on Norwood's instant gram page, quote
to those who expressed anger over the creation of my
AI character, Tillie Norwood, She's not a replacement for human being,
but a creative work, a piece of art. Like any
many forms of art before her, she sparks conversation, and
that in itself shows the power of creativity. Goes on
(09:22):
to say that I see AI not as a replacement
for people, but as a new tool, a new paid brush.
Just as animation, puppetry or CGI open fresh possibilities without
taking away from live acting, AI offers another way to
imagine and build stories. I'm an actor myself, and nothing,
certainly not an AI character can take away the craft
or joy of human performance. So it's a pretty ambassadorial
(09:45):
response to this, But I mean, you should not be
surprised by the fact that there are now possible talent
agents or possible management that wants to go ahead and
shop around this digital AI actress to be noticed possibly
and be seen in movies or television or whatever you want.
(10:12):
I mean, right now, AI is getting to the point
where I wouldn't be surprised if it got to a
point where we're getting movies that are completely AI generated
that could be put up for the big screen or
for Netflix or for streaming or whatever it is. You
can be surprised by that and think of the amount
of con that you could create. But it still requires
(10:35):
human input. So the actress here could be subjected to
so many different things, could be subjection to nudity without
any you know, any of those romantic safety guards or
(10:58):
whatever they have out there, no casting couch. So what
kind of abuse could you do to a character like this,
a character that will automatically be able to go ahead
and deliver a take exactly unless the computer programming is
flawed or makes a mistake. I mean, the thing is,
(11:25):
it's gonna take a long time before these language learning models,
these algorithms of AI are able to do anything close
to perfecting a script or a narrative or a tone
or anything that resembles some of the best movies we've
ever watched on screen. It still requires human input no
(11:50):
matter what. And even now the AI that we have
here is still a bit premature to think that we're
gonna get a lot of great content, just like in
this Any AI content you've see now is on social media,
and it's all being done with you know, a couple
of different things you're doing. It's just something for memes
or something for short films, but nothing bigger than that.
(12:11):
And it's not perfect at all. We can see all
the stuff that's going on now. If you're trying to
go and recreate a popular character and you want the
animation of this popular character through AI to be flawless
and consistent throughout, it's extremely difficult. It doesn't happen. That's
depending on the people that are creating the software or
using the program to edit and produce something. What is
(12:35):
being asked of from the human component to instruct the
language already model in that AI to get it right.
That's all very much difficult to do. But now Hollywood
has to go ahead and push back on this and
realize that Hollywood can still be in their own lane.
(12:56):
But there is something to be said about why this
is coming in is because use Hollywood isn't a glut
right now of rehashing, repurposing, recycling. They're not putting out
a lot of new content, and that they would, and
it would be better content out there. AI would not
even be in the conversation, it would be in the background,
(13:18):
and it would not be there as seeing something so
disruptive as a Tilly nor Wood could come to the
space and shake up Hollywood just like that. That's what
I got to go and find out. Vander Velden said
that at the Zurich Summit this past weekend there would
(13:39):
be an announcement being made over which agency would be
representing her in the coming months. And a lot of
resentment has come about and one parody social media account too.
But the acting comunity got very upset. They got butt hurt.
Speaker 1 (13:52):
Okay.
Speaker 2 (13:53):
Several well known names chiming in among the hundreds of
angry messages left in online comment sections, suggested that angers
should be targeted at whichever agent signs nor would going
through the names here hope all actors wrap by the
agent that does this drop their ass. How gross read
the room out the agents. I want names, And what
(14:15):
about the hundreds of living young women whose faces were
compositive together to make her? You couldn't hire any of them.
One other person writes a nightmare to work with until
he Tillian was a nightmare to work with and couldn't her.
It couldn't her mark couldn't hit her, market was late.
And there's other things that can be brought up about
(14:37):
an actress like this that doesn't have to have a
political view or doesn't have to have any kind of
opinions on anything. But again, it would just be a
hollow character. So for those that want to be the
fans of an actress like this, there wouldn't be much
to go off of, because then you could just have
some program or just make whatever kind of story they
(14:57):
want about her and I want to make a difference,
or they could just make fantasize whatever kind of story
they want and change it up. You could also make
it like a create a story. Here's three or four
different stories you can have about Tillie Norwood, and you
can figure out which one you like. It's all this here,
but imagine if you did put this here and look,
(15:18):
this is one of the things where Hollywood's not gonna
be able to go and sway away from something like
this because when you see a young woman like this,
which is AI generated, I know, but when you look
at her, if you didn't tell anyone that she was
AI generated, it would be hard to go and see that.
But she's young. They did a lot of work in
making a part of her face look a little bit
(15:42):
very natural so that it's not overly perfect. And I
think that's the other thing that she did really well
to create the character. Plus the expressions that she can
give and what she's done like, those kind of things
are very important. But having an actress stay eternally young,
(16:04):
I mean, it's one thing for movies that you have
that are with a more mature audience or more mature
set of actors and actresses, those movies are still gonna
be out there. But we're talking about when you have
characters that can't stay the same role or those child stars.
I mean, there's a reason why we had child stars
(16:24):
forever because they will still be young even into their
twenties from their you know, pre teens, or even before
then for some of them, and they can still stay
around and be relevant. I'm surprised we haven't had this
music yet. I mean, obviously we have music now that's
AI generated of the audio portion, but we haven't seen
(16:46):
anybody as far as I know yet that is completely
generated and you can see the music also being performed
by that particular AI generated musician or singer whatever. I
don't know if we've gotten to that point yet. If
we have, I haven't seen it yet and it hasn't
been up to the mainstream yet. But we can see
that someday, very much so. But it's also one of
(17:10):
those things where you have this particular AI generated character
that caught attention. I mean, she also looks a lot
like a lot of different girls out there in the
first place, Like there's already somebody on social media that
put it out that she looks like one of the
a TikTok store out there, and they're not probably too
far off from that. The new sac after President Sean Aston, Yes,
(17:35):
Rudy or his we're going to go. You know, there's
a lot of movies he's been in. Okay, Shawn Asad
is going to be addressing this right now. With agency
continued to fight for AI compensation, so he spoke the
variety about global curiosity over her, and he says, quote,
I appreciate that this story has captured the imaginative of people,
(17:57):
imagination of people. We did have a one h eighteen
day strike, finding very hard to put AI permissions and
productions in place. The team, said Sack after have been
into this fight for longer than people might realize. As
technology confuses the advanced at light speed, we're going to
meet the challenge. He also says he's going to address
(18:18):
the matter with the Association of Talent Agents, the trade
association that represents CAAA, WME and UTA, the biggest major
agency firms in the world, in upcoming agreement talks. We performers,
he says, rely on our agents judgment and good work
and their sincerity, and they rely on our talent and
(18:39):
our marketability. The real issue at play is how our
work is exhibited and what kinds of permissions and compensations
we get for its use. But here's the part that's
got to be understoid too, that this was not a
copy of somebody else, and there's no permissions or compensations.
(18:59):
Are conversations required for Attillian nor Wood to perform. That's
cutting around and going around everything in Hollywood just to
make this work. But for Hollywood, for anyone in Hollywood
want to be able to work with an AI actress,
these are the things you're gonna have to worry about
because it's unfair practices, are unfair trade practices towards the
(19:23):
actual industry itself and the actual actors and actresses out there,
of which there are plenty that we want to be
able to play in a role and be willing to
do anything and everything to get into a role for
any kind of project. And asked also a conclude and
say that with regard to AI, we have an extraordinary
amount of leverage because the audience wants to still see
real human performers and movies, TV shows, in animation, video games, audiobooks,
(19:47):
and all the other ways that we represent our members.
And then there's been more talk about that the fact
that she's not an actor, till he's not an actor,
no life experienced, draw from, no emotion. So SACA after
also made this point as well. To be clear, Tillian
Norwood is not an actor. It's a character generated by
(20:08):
a computer program that was trained on the work of
countless professional performers without permission or compensation. It has no
life experience to draw from, no emotion from what we've seen.
Audiences aren't interested in watching the computer generated content untether's
from the human experience. It doesn't solve any problem. It
creates the problem of still using stolen performances to put
actors out of work, jeopardizing performer livelihoods and devaluing human artistry. Well,
(20:32):
this is if this particular AI actress takes over, takes
over some Hollywood project, or gets to be involved in
a Hollywood project instead of as can stand alone. I
think what we need to see first from Tillian Norwood
is an actual production that does not require Hollywood. It
(20:53):
should be like an audition. I mean, what we need
to see before we do anything and start getting to
any conclusions about AI is let's see an actual production
of everything being done to include this. Now, of course,
a chemmissioner was one of the first things out there,
but we're talking about let's see if some company like
Particle six can produce a full, fleshed out storyboarded, scripted, acted, produced, edited,
(21:23):
all of it. If they're able to produce a compelling
production that is good enough to be seen on streaming
and more importantly, the real test, see if it can
get on the big screen, see if it could generate
an audience. Now, we already know that AI and animation
(21:44):
are not too far apart, because there is quite a
few things in terms of production and what you could
create off of animation. So you have to look at
it that way. If you are creating a project like this,
to where like a Demon Slayer movie or Dragon Dragon
ball z Broli or whatever that's out there, if those
(22:07):
movies can actually generate hundreds of millions of dollars, give
me a Tilly Norwood lead movie and see if it
could generate one hundred million dollars domestic and let's say
two hundred fifty million dollars worldwide. Now, also, but the
(22:31):
caveat that this is an AI generated production and an
AI generated product. All of it is AI generated. Imagine
if they're able to go and pull that off, that'd
be kind of interesting to me. But I'm not surprised
by a sack after. But again, this is all conversations,
it's all protections. It's making sure that all the measurements
(22:52):
that they've done from that one hundred and eighteen days
strike that Sean Asten is referring to that we all saw,
because that's one hundred and eighteen days sack After was striking.
That's not counting the three hundred plus days that the
Writer's Guild was striking beginning it was ten months. WME
has also spoken right now one of those big major
(23:14):
talent agencies, that we represent humans. If Tillie Norwood has
a future, it won't be at WM, according to co
chairman Richard White's telling the Wrap dot com. Whites would
also go on to say at the Wraps twenty twenty
(23:34):
five girl crofids this past Tuesday, we are in the
human business. We have been in the human business. We're
going to continue to be always be in the human business.
We're not interested in taking the best of our actors
and the actors in our community and being put in
an AI model. So nope, we're not going to represent her.
We weren't approached by her, and I don't think that's
going to be the future for us.
Speaker 1 (23:59):
Now.
Speaker 2 (23:59):
Mark Shapiro, who is the CEO at WME, he does
make the point and say that there is going to
be an AI actor actress is coming to some point
that will happen, but that's how the business w ME
is in right now or is it a place I
think that we think we want to go. So I
think in retrospect we need to be prepared for this
(24:23):
that down the line we are going to get AI
content that we'll be able to go ahead and push
the boundaries of what's acceptable in Hollywood. I don't know
if Hollywood's going to be a part of it, because
the other thing, too is that AI generated content like
this for movies or TV shows or whatever, they don't
have to be done in Hollywood. They're gonna wherever they
(24:44):
want with less production space, less production and requirements, less
production resources, just good computer as a server and the
right kind of intuitive this know how knowledge of being
able to go and use the program that's been creator
or generator are being used to do such. That's where
(25:05):
we're gonna have to look at down the line. Okay,
we're not going super long on the show tonight because
it is a little bit loud on content. So a
fee other stories want to go and join in right
quick while we're going through it. FCC news coming up
at a moment, but I'll go ahead and tell her
that for a second, let's go to the Wrap dot
com talking about the value of television and how live
(25:29):
sports is really pushing the charge on it. This is
earlier of the month of September, but I should make
this mention real quick now. I didn't get a chance
to go bring about it, but I wanted to go
and bring it up.
Speaker 1 (25:41):
Now.
Speaker 2 (25:44):
Sports have accounted for eighty six of the top tile
thecast's top one hundred telecast in twenty twenty four. That's
including Live plus Same debuting Acquin to Nielsen, and the
other balance of content out there was made up of
presidential debates, awards shows, if you love events, and the
first episode of Tracker that premier after the twenty twenty
four Super Bowl. And if you look at this year,
(26:06):
hasn't been a whole lot of buzz right now in
the current fall season of new content going on. I mean,
you know, you got what a whole bunch of Law
and Orders, Chicago Fire, PD whatever it is, you have,
CSI's NCIS's FBIS, and then there's other handful of shows.
But I mean, how many shows have we had out there? Oh,
(26:28):
a new nine to one one series? What else have
we had that's really sithitically new groundbreaking. We're not getting
anything right now on network TV streaming, not necessarily either,
it guess really, I mean, we don't have any kind
of things like that are going on fresh and new,
nothing like that at all. It's crazy. The overall cost
(26:49):
of UoS sports media from S ANDB Global, they report
it's at twenty nine point three billion dollars and the
rights represent twenty three percent of the industry's total spending
based on Moffatt Nathan's and estimate to how much each
player would commit to content each this year. As scripted
entertainment spending has decreased in the US since it's high
(27:11):
in twenty twenty three, and the second half of twenty
twenty four, scripting or scripted programming kount of for thirty
seven percent of all titles ordered by streamers by a region,
down nine percent, and one of the things that the
strikes of the Writers Guild and the Actors also changed
the commissioning strategies that also help to blame for the decline,
(27:33):
but we haven't seen a balance back from it yet either.
Sports spending by twenty thirty will be up to thirty
seven billion dollars, and that's up one hundred and fifty
three percent from twenty fifteen ten year analysis. That's an
(27:56):
amazing point to bring in here. I just thought that
was really fascinating to go and bring up. Sorry, moving
on now to SEC. They have started their quadrinnial review
of ownership caps. So ownership rules are now going to
be evaluated and looked at and checked out right now.
So in this review, the Commission will be seeking comments
of the local ownership radio ownership rule limning the number
(28:19):
of radio stations that can be commonly owned in a
local market, and a local television rule limiting a single
entity entity from owning more than two television stations in
the same local market. The Commission is seeking to learn
what the extent the local ownership rules promote competition among
the local broadcast stations or weather and a line of
the pressures local stations. A lot of the pressures local
(28:40):
stations now face that the are impeded to achieve efficiencies
that would allow them to better serve their communities and
remain competitive. And again we know that they're talking about
the fact that online is the new competitor for all
these traditional linear outlets. Radio broadcasters have been commenting about
(29:02):
this saying that there are phrases like divining moment, critical step,
and long overdue to describe the formal review. Caroline Beasley
of Beasley Media Group says that it's a defining moment
for our industry to ensure that local radio can continue
to fulfill its essential public service mission for decades to come.
Cumulus Media President and CEO Cumulus Media President CEO Mary
(29:25):
Berner says that this is quickly modernizing the radio ownership rules,
being essential for listeners who rely on local radio every day,
then they be President and CEO Curtis of The Gate
says this was long overdue to modernize outdated broadcast ownership rules.
They're gonna change it. Let's just make that clear. We're
(29:48):
gonna have an open season on TV and radio stations
to be gobbled up, which just tells you more and
more that the corporatization of all these stations without any
local operators, like I mean, like small time local operators
operating these stations, they're just gonna get micromanaged. They're just
gonna get put into some property that they have, and
(30:12):
there's not gonna be much more done to help improve
or quantify the content that's being done all these stations.
It's not gonna matter. But we should just basically think
that my hope for deregulation or just to create strict,
stricter rules, We're just not gonna worry about that on
(30:34):
linear anymore. I guess not unless they figure something out,
but I doubt it. But even the ownership rules, if
they are changed and completely eliminated altogether, they will never
be able to compete against anything online. That's just a
fact of life. But we will keep an eye on
(30:59):
what happens going forward with the changes that are going
on with the SEC. As I said, I wish they
wouldn't go decide to go and do this, but what
are you gonna do?
Speaker 1 (31:10):
Right?
Speaker 2 (31:11):
And I'm a choice all right? This week and I'm
gonna be watching this Batching Machine with the Rock. Hopefully
that movie will be really well suppose to a movie
that the Rock is wanta gramm me from well to
find out first be on Oscar Oh my god, grammy
never mind. Anyway, come back for another Broadcasters podcast next week,
hopefully a little more content, because content is king, and
the control of your content is in your hands.
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.