THE BUSINESS OF ENTERTAINMENT: UNFILTERED
Randy GreenbergHelping entertainment executives, investors, studios, streamers, creators and anyone interested in entertainment understand the business forces shaping Hollywood and what needs to be changed for the industry to survive and thrive
| Platform |  | Pricing | Freemium | Publishes | Twice weekly |
|---|---|---|---|---|---|
| Issues | 69 | Founded | 2 years ago | Last Issue | 39 hours ago |
| Active | |||||
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thebusinessofentertainment.substack...Latest Issues
DISNEY IS REBUILDING WITH DISNEY+ AS THE HUB
A Disney+ subscription at the center, merchandise moved under the entertainment studios’ control, a TikTok & Verts deal will reshape consumer contact. Disney will look completely different in 2 years
For 100 years, all of the major film st...
EQUITY: THE LAST POSITION IN LINE TO GET REPAID IN FEATURE FILM FINANCING
What a $35 Million Dollar Film Actually Costs, And Who Actually Pays For It
Every few months I see someone write a post about the mid-budget movie. And how this tier is dead. That audiences have abandoned it. That streaming took it. And th...
THE GOLDMAN ALIBI IS THE MOST EXPENSIVE SENTENCE IN HOLLYWOOD
Goldman wrote it in 1983 and the business has been hiding behind it ever since. Nine marketing campaigns made a claim this year. Seven sold recognition. The gap between them is the issue
“Nobody knows anything.” The line has been doing hug...
THE SCREENS RAN OUT
Two studios created their own premium formats for marketing this summer. Double the PLF screens and everyone wins - filmmakers, consumers, studios and exhibitors.
Spider-Man: Brand New Day opens today with the strongest Marvel presales in...
$28 A MINUTE VS. $136,000 A MINUTE: HOLLYWOOD SHOULD BE NERVOUS
Two Business Strategies are forming inside one format. The dividing line is who owns the work.
CandyJar produces a scripted vertical series for $100,000 to $300,000. Forty-three to forty-nine episodes, four months from story selection to r...
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Authors
The writers behind this newsletter.
You don’t need another trade recap. You need someone who’s been in the room. I’m a film and TV producer with 30 years across studios, agencies, distribution and marketing. This newsletter is what I wish I’d had — and what the trades won’t tell you.
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