Global TV, Film & Media Industry News Roundup, Monday 21 July 2025
Superannuation crisis hits Aussie TV; YouTube dominates viewing; Colbert exits; AI films rise; Netflix revives boybands; Ireland, Africa, and Flemish media reshape global screen landscape.
Today’s Highlights:
Australian Production Companies Face Millions in Unpaid Super Claims – A landmark ATO ruling could reshape employment practices, trigger industry-wide legal and financial ramifications, and lead to union-led enforcement action.
YouTube Tops U.S. TV Viewing as Creators Go Long-Form – Signals a seismic shift in global viewing habits and the dominance of creator-driven platforms over traditional networks and streamers.
Colbert’s Exit Marks the Collapse of Late-Night TV – Reflects the broader decline of a once-dominant format and raises significant free speech and political concerns within U.S. media.
Flemish Government to Require Local Apps on Smart TVs and Dashboards – A bold regulatory move that challenges global tech platforms and sets a precedent for regional content protection.
Ireland’s Film Industry Booms After Decades of Scarce Opportunity – Demonstrates the power of tax policy and industry support to transform a national media landscape.
Pop Mart Eyes AI-Driven Labubu Blockbuster Amid Global Craze – Illustrates the growing convergence of IP merchandising, AI-driven content creation, and global box office ambitions.
Next Narrative Africa Fund Opens $40M Grant for African Storytellers – Represents a major funding boost aimed at elevating African voices and reshaping global narratives through film and TV.
Simon Cowell to Launch Global Boyband Search in New Netflix Series – Highlights Netflix’s continued push into global unscripted entertainment with a proven media figure at the helm.
Mystery Road: Origin Season 2 to Open CinefestOZ 2025 – A culturally significant Australian series returns to a major festival, reinforcing local content value.
Keeley Hawes’ ‘The Assassin’ Offers a Gritty, Human Alternative to Bond – A genre-defying thriller with star power and emotional depth, but narrower in global industry impact compared to others above.
Plus: Insights, Festivals & Markets, In Development, Opportunities & Jobs with Pinewood, Samphire, Fox, Samsung, Crunchyroll, Paramount, Edinburgh TV Festival & Netflix in London, LA, NYC, Sydney & Manila.
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Streamers: Netflix, Apple, Viaplay, SkyShowTime, Amazon Prime, Marquee TV, Paramount Television International, MTV Entertainment Group, BET, Cineverse.
Broadcasters: NBC Universal, France Televisions, Sky, ABC, Channel 4, ITV, A+E Networks, CBC, TV2, SVT, ARTE, RTBF, SBS Play, TCL FFalcon, RTL, TVNZ, SRF, Kanal D, UKTV, Ceská Televize, FOX, Hearst Networks.
Producers: Fifth Season, Sony Pictures Television, Banijay, Fremantle, Endemol Shine, Gaumont, Pathé, Warner Bros Television Productions, Universal Pictures International Australasia, UFA Fiction, Vivendi, Entertainment One, BBC Studios, Warner Bros Discovery, Talpa Studios, Keshet, Tiger Aspect, Wild Bunch TV, Red Planet Pictures, Go Quest Media, Eureka Productions, The Ink Factory, Nordisk Film, Reel One Entertainment, Bunya Productions, Beach House Pictures, Beyond, The Global Agency, Esha Bargate Productions, blue Entertainment, Paper Plane Productions, Paprika Studios, Playmaker, Off the Fence, Goalpost Pictures, Spin Master, Stand By Me, Halcyon Studios, DPG Media, Envision, Rive Gauche, Blue Ant Media, Squareone, Great Southern Studios, Collective Media Group, New Dominion Pictures, RAW TV, Optomen, Magpie Pictures, KOJO, ShinAwiL, WildBrain, Nine Daughters, Amazon/MGM Studios, October Films, Legendary Entertainment, Bad Wolf, Mediapro, Bron, Red Arrow, Searchlight Pictures.
Also: Aarhus Series Festival, The Wit, Norwegian Film Commission, New Zealand Film Commission, IMDA, MIA, Getty Images, Ottawa Film Office, Simkins, Harbottle & Lewis, Screen Brussels, Sheffield DocFest, FilmChain, Documentary Business, Zero Gravity Management, SXSW, MEA, DOC, Attraction Distribution, Kaplan Stahler Agency, Passion Distribution, Audible, Screen Queensland, Canada Media Fund, My Smash Media, Artists First, Grey Seal Media, Screenforce Finland, BAFTA, IMAX, Condé Nast.
INSIGHTS
Keeley Hawes’ ‘The Assassin’ Offers a Gritty, Human Alternative to Bond
Keeley Hawes stars in The Assassin as Julie, a retired hitwoman whose past resurfaces while reconnecting with her son (Freddie Highmore) on a Greek island. Created by Harry and Jack Williams, the series flips the spy genre with emotional depth, unpredictable twists, and a grounded anti-hero. Hawes calls Julie “authentic” and “worn down,” contrasting sharply with Bond’s slick persona. The six-part thriller premieres July 25 on Prime Video. Read More
YouTube Tops U.S. TV Viewing as Creators Go Long-Form
YouTube is now the most-watched video platform on U.S. televisions, surpassing Disney’s combined networks and streamers. Viewers log over 1 billion hours daily, prompting creators to produce longer, higher-quality content for living rooms. YouTube’s evolving TV app mimics streaming services, with features like auto-queued episodes and personalised feeds. With $54.2B in revenue, YouTube is reshaping entertainment one mid-roll ad at a time. Read More
TV’s Conspiracy Thrillers Shaped How We Think About Power and Truth
Shows like The X-Files, The Prisoner, and Homeland trained audiences to embrace suspicion, decode mysteries, and distrust official narratives. These serials didn’t invent conspiracy thinking, but they popularised its logic, turning viewers into sleuths chasing elusive truths. Read More
Live Horror Film Premieres in Melbourne with Real-Time Editing and Music
Audiences in Melbourne and online will experience Here & Now, a one-hour horror film shot, edited, acted, and scored live at the Abbotsford Convent. Directed by Michael Beets and S.C. Wilson, the film is performed by students using backpack cameras streaming footage directly to an on-site edit suite. With no script, actors improvise, while musician Montgomery performs a live score to the unfolding visuals. Read More
Colbert's Exit Marks the Collapse of Late-Night TV as We Know It
Stephen Colbert stunned audiences by announcing The Late Show will end in May 2026, with no replacement. The news follows CBS parent company Paramount’s $16M settlement with Trump over a 2024 60 Minutes segment, sparking speculation of political motivation. Senator Elizabeth Warren called the timing “bribery.” While concerns over free speech mount, Colbert’s departure signals a broader reckoning for the fading late-night format. Read More
Pop Mart Eyes AI-Driven Labubu Blockbuster Amid Global Craze
Imagine this Thanksgiving: The Labubu Movie, an AI-generated hit from Beijing's Pop Mart, is packing theatres across the U.S. In reality, Pop Mart has just announced its own film division, aiming to capitalise on the surging demand for its monster keychains, especially after K-pop star Lisa's viral endorsement. Designed by Kasing Lung and rooted in Nordic mythology, Labubu first appeared in an out-of-print children’s book. Read More
Flemish Government to Require Local Apps on Smart TVs and Car Dashboards
Starting next July, TV and car dashboard makers must preinstall Flemish apps under new rules aimed at protecting local media. Media minister Cieltje Van Achter says the move ensures global tech firms don’t control what Flemings watch. Likely apps include VRT Max, VTM Go, GoPlay, and Streamz. Some must be preinstalled, while others must be easily accessible at startup, according to the Flemish media regulator. Read More
Australian Production Companies Face Millions in Unpaid Super Claims
Major producers of shows like Neighbours and Home and Away may owe millions in unpaid superannuation after a 2024 tax office ruling. The Australian Taxation Office found that most screenwriters are service providers, not contractors, entitling them to superannuation payments. The Australian Writers Guild is preparing to challenge Screen Producers Australia to enforce the ruling and secure compensation for writers. Read More
Ireland’s Film Industry Booms After Decades of Scarce Opportunity
Once a tough place to launch a directing career, Ireland is now a global film and TV powerhouse, thanks in part to generous tax breaks. Director Dearbhla Walsh recalls the near-impossibility of breaking into the industry in the 1980s. Today, Ireland thrives both in producing homegrown content and hosting international shoots, marking a dramatic shift from its earlier cinematic drought. Read More
Shark Week Returns with Thrills, Chills, and Ocean’s Apex Predator
As summer peaks, Discovery Channel’s Shark Week is back for its 37th year starting Sunday. With new shows, familiar personalities, and jaw-dropping footage, the annual event delivers a mix of entertainment and education. From gory glimpses to fascinating facts, it’s the perfect reason to escape the heat and dive into the wild world of sharks. Read More
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