Latest news with #mediaindustry
Telegraph
a day ago
- Entertainment
- Telegraph
Regular TV has become slow and tiresome. Watch YouTube instead
We are living at the end of the Information Age. With just a few taps on a keyboard we can instantly access data on anything that takes our interest. With AI voice assistants improving hourly, we don't even have to strain our weary fingers. We can ask out loud and get the answer in seconds. Bosh! So why are television documentaries – particularly science factual ones – so coy, and so agonisingly slow? They feel like hangovers from the analogue era, with their endless scene setting, their promises of things 'still to come' and 'coming up', the agonising device of 'we'll find out later exactly how they did it'. In the 21st-century, this is infuriating. Do they expect us to hang around for them when we can just Google? Of course, the arc of a story is part of the fun of TV in general. But this structure of flitting back and forth, promising and withholding, is deeply irritating. Recent Netflix documentaries such as Secrets of the Neanderthals and A Trip to Infinity or the BBC's Human take it much, much further. They are visually stunning, gilded with splendour – and so ponderous that they make experts of yore such as Terry Nutkins and Patrick Moore seem positively funky. Everything is in slow motion. You can have a movie-length production that contains about 10 minutes' worth of material. (Not to mention a lot of anthropomorphisation, but that's probably for another column.) What makes this glacial pace even odder is that there is an alternative. With YouTube, you can see documentaries that unfurl at a much slicker pace, but also dive much deeper. Two of my favourites are linguistics expert Geoff Lindsey and theoretical physicist Sabine Hossenfelder – they give straightforward to-camera addresses, but use modern editing and graphics to get the information across in a simple, direct, compelling way. There are no longueurs or wallowing in production value, and no cutaways to them looking suitably gobstruck on cue à la Professor Brian Cox. If the aim of science-factual TV is to educate and entertain, I think I've learnt so much more from YouTube than I ever did from TV (or indeed from school). There is the magpie mind of Tom Scott, now semi-retired, or the inventively animated works of the channel Kurzgesagt – In a Nutshell. This content – if we must use that ghastly word – is much cheaper and breezier than TV documentaries, but it gets to the heart of what you want to know (and frequently to the heart of what you didn't know you wanted to know). Meanwhile, back on regular TV, documentaries are in a state of grandeur, prettiness, superficiality and, above all, lethargy. The slowing down of mainstream documentaries seems to have infected TV more generally. Up until the release of the smartphone – which seems like the fracture moment of culture – TV seemed to be getting faster and faster. I remember watching the opening episode of Shameless back in 2004, Paul Abbott's provocative drama about the dysfunctional Gallagher family. I felt exhilarated, like I was on a rollercoaster. I recently went back to check how it stands up, and it's still fast. A hell of a lot of story was going on. It was assumed that the audience could now take in more information, more quickly, without stinting on quality. But this process stopped, and now, clearly, it is slipping backwards. But 'fast TV' does not necessarily mean that everything needs to be a jaw-dropping visual spectacle full of special effects (despite the blurring of TV and cinema as technology changed). Some of the most captivating TV drama is just people talking. The riveting third episode of Steven Moffat's recent ITV drama Douglas is Cancelled is literally just that, and it's riveting. All the best bits of Jed Mercurio's BBC police corruption drama Line of Duty were dialogue scenes. What stuck in the public's mind about the recent Netflix series Adolescence? It was the talking heads, and in particular the dialogue between teenage schoolboy Jamie (Owen Cooper) and his social worker (played by Erin Doherty). But still television-makers strive for the epic. My skin instinctively prickles when I hear about beautiful shots on TV, particularly considering its 21st-century colour palette of dull browns; beige, umber and dun. Almost everything is shot as if it contains the meaning of life – irritatingly atmospheric, and always bookmarked by endless sweeping establishing drone shots. In fact, this is as true with drama as with documentaries. We keep hearing how our terrestrial broadcasters struggle to compete with the gloss and grandeur of the streamers. And no, we can't ever match the bells and whistles of, say, Disney Plus, but mainstream TV could do worse than learn from its history – and from YouTube. Focus on simplicity and directness. And put its skates on.
Yahoo
4 days ago
- Entertainment
- Yahoo
Jermaine Jenas claims BBC ‘took away my life' after sacking over inappropriate texts
Jermaine Jenas has claimed the BBC was able to 'take my life away' after his sacking over alleged unsolicited, inappropriate text messages he sent female colleagues at the broadcaster. Jenas was sacked in August 2024 over allegations that he sent explicit texts to two female BBC employees. At the time of the scandal Jenas said, 'I am not happy about it. I'll have to let the lawyers deal with it. There are two sides to every story,' before he eventually admitted that he had behaved 'inappropriately' and 'made a mistake'. The 42-year-old had formerly been part of the presenting team on Match of the Day and The One Show. Speaking on the Reece Mennie podcast, the former Tottenham player said, 'Having worked in the media for the last ten years, and having been through what I've been through for the last year, been a really difficult moment for myself and my family what happened which I have always held up my hand and taken full responsibility for, that's very important to do. 'You go through a lot of different emotions of anger and blame, but eventually you realise: 'Take responsibility, Jermaine, and you'll be able to move forward.' 'Because of their ability to take away my life, in terms of every deal I had, the jobs that I had at that particular time, I said that is never happening to me again, so I've recently set up my own production company.' He added that while working for the BBC 'there are so many walls in terms of what they want you to do and what you're not allowed to do. Betting companies want to work with me because I'm in football; BBC hate that because of the issues to do with gambling in general, so they block all of that. 'So there were a lot of blocks on one side and football was bringing me some stuff, but the reality is that it all got wiped out. It all got taken away.' Jenas split from his wife of 16 years, Ellie Penfold, in the wake of the scandal. The couple have three children together.
Zawya
30-07-2025
- Business
- Zawya
UAE Media Council launches Advertiser Permit to regulate individual promotional content
ABU DHABI - The UAE Media Council has announced the launch of the Advertiser Permit for individuals who publish promotional content on social media platforms, whether their content is paid or unpaid. This initiative is part of an integrated framework aimed at creating a flexible regulatory environment that keeps pace with the rapid evolution of the media industry. It seeks to enhance content quality, increase the sector's attractiveness for investment, and attract skilled professionals and creative talents in content creation. The permit also aims to safeguard the rights of both society and content creators by introducing clear mechanisms for regulating advertising activity, thereby reinforcing the principles of transparency and professionalism, and cementing the UAE's position as a leading hub for advertising content production. Mohammed Saeed Al Shehhi, Secretary-General of the UAE Media Council, stated that the launch of the Advertiser Permit marks a pivotal step in evolving the regulatory ecosystem for advertising activities across digital platforms. It reflects the council's vision of building an integrated media model that aligns with digital advancements and strengthens media governance by establishing clear standards that protect public rights and define responsible, professional relationships between content creators, advertisers, and audiences. He noted that the permit contributes to building a media environment rooted in transparency and credibility, by outlining clear guidelines for advertising practices that bolster user trust and align with the ongoing shifts in the digital media space. Al Shehhi emphasised that the UAE has successfully positioned itself as a global platform for content creators, leveraging a flexible legislative framework, advanced infrastructure, and a regulatory environment that fosters innovation and competitiveness - making the country a top destination for creatives and digital professionals from around the world. Al Shehhi added, 'We are committed to supporting the content economy as a vital component of the future economy and a key driver of growth in the digital era. We believe creative talent is the cornerstone of this rapidly growing sector, both locally and globally. That's why we are focused on updating legislation and launching strategic initiatives that foster an enabling environment for individuals and companies, while strengthening the sector's contribution to the national economy in alignment with the UAE's future vision and ambitions.' Maitha Majed Al Suwaidi, CEO of Strategy and Media Policy Sector at the UAE Media Council, explained that the Advertiser Permit is a regulatory step designed to empower content creators and improve the quality of advertisements shared across digital platforms. She added that the permit will come into effect in three months, giving content creators sufficient time to align their status and obtain the necessary approvals to ensure compliance with the new regulations. The permit will be mandatory for all individuals working in the digital advertising space. Al Suwaidi further noted that the permit will be granted free of charge for the first three years, and that existing valid permits will remain effective until expiry, with renewal applications available thereafter. She called on companies and institutions to engage only with individuals licenced by the council, in line with professional standards and to ensure the quality of advertising content and protect public interest. Al Suwaidi also confirmed that Visitor Advertiser Permits will be activated in parallel with the full implementation in three months, with the official list of approved advertising and talent agencies to be announced at a later stage. Exempt from obtaining the Advertiser Permit is any individual who promotes a product or service of their own or a company they own through their personal account, as well as individuals under the age of 18 who engage in educational, athletic, cultural, or awareness activities, provided that the activity aligns with the age classification prescribed under the relevant legislation. Pursuant to the decision, the account holder is required not to violate media content standards The permit number must be clearly displayed on social media accounts and platforms. No advertisement may be published except through an account registered with the council and linked to the permit granted to the permit holder. The account holder must not allow any other person or party to advertise through the account registered with the council. Approval must be obtained from the relevant authorities prior to publishing the advertisement, whenever the relevant legislation requires such approval. The new framework requires visiting content creators to apply for a Visitor Advertiser Permit. The applicant must be registered as a Visitor Advertiser through a licenced advertising or talent management agency authorised to operate in the UAE and approved by the council. The Visitor Advertiser Permit will be valid for three months, renewable once for an additional three months.
Zawya
17-07-2025
- Politics
- Zawya
South Africa: Communications Committee Chairperson Honours Mme Sophie Mokoena as She Retires From the South African Broadcasting Corporation (SABC)
The Chairperson of the Portfolio Committee on Communications and Digital Technologies, Ms Khusela Sangoni Diko, has paid tribute to the South African Broadcasting Corporation's (SABC) International News Editor, Ms Sophie Mokoena, expressing deep gratitude for her outstanding contribution to journalism and public broadcasting over the past three decades. Widely known and respected as Mme Sophie in media and political circles across South Africa, Ms Mokoena began her distinguished broadcasting career in July 1994 as a current affairs anchor on Lesedi FM. Since then, she has devoted 31 years of exemplary service to the SABC, steadily ascending to her current role as International News Editor. As a political reporter, Mme Sophie built enduring professional relationships with leaders across the political spectrum. Her ability to gather and communicate reliable information played a critical role in informing and empowering the public during key moments in the nation's history. Throughout her career, Mme Sophie remained unwavering in her journalistic principles – resisting political influence, maintaining neutrality and upholding the highest standards of professionalism. Her integrity and dedication set her apart as a trusted voice in South African journalism. In her leadership role as International News Editor, she brought the same excellence and commitment to the global stage. Her diplomatic finesse and ability to engage heads of state and international stakeholders strengthened the SABC's reputation as a credible source of both local and international news. 'As she retires, we salute Mme Sophie for her invaluable service to the nation. She leaves behind a legacy of integrity, courage, and journalistic excellence. The SABC, and indeed South Africa, has been enriched by her contribution. We wish her a joyful retirement filled with rest, reflection,\ and quality time with her loved ones,' said Ms Diko. Distributed by APO Group on behalf of Republic of South Africa: The Parliament.
New York Times
14-07-2025
- Politics
- New York Times
Public Broadcasters Brace for Vote on Sharp Funding Cut
Julie Overgaard, the executive director of South Dakota's biggest public broadcaster, breathed a sigh of relief in the winter after the state legislature defeated a measure to cut half of her funding. Then the real battle began. Ms. Overgaard, 57, is one of dozens of public media executives across the United States bracing for the strong possibility that Congress will vote this week to eliminate funding for public radio and TV stations. The change would have wide-ranging effects on local broadcasters like hers. 'I can't say that we would be dead immediately, but it would obviously have serious negative impacts,' Ms. Overgaard said. Congress is expected to vote by the deadline on Friday on a White House proposal, known as a rescission package. It would pull back more than $500 million per year in federal funding that is set to go to the Corporation for Public Broadcasting, the government-backed company that supports public radio and TV stations across the country. Last week, President Trump urged legislators to support the cuts, and threatened to withhold his support for any Republican lawmakers who oppose the proposal. If the package passes, the federal funding for public media will dry up beginning in October. NPR and PBS would survive — they get a small percentage of their funding from the federal government. But the cuts would force many local stations to sharply reduce their programming and operations. Many public broadcasters receive more than 50 percent of their budgets from the Corporation for Public Broadcasting. The cuts could even be a death sentence for some stations, which have survived several attempts to choke off funding over the decades. Want all of The Times? Subscribe.
