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Julia Silverton reposted thisJulia Silverton reposted thisA lot of people in my network are hiring. All roles below posted in the last few days. I send open roles in Entertainment, Sports, Music & Gaming 3x times a week. ⬇️ Drop your email in the comments and I'll add you to the list. I also added links in the comments to post a job This week's list includes: Colin & Samir - Story Producer Vox Media - Director of Podcast Subscription & Memberships NBCUniversal - Trade Marketing Coordinator The Walt Disney Company - Manager, Content Management Paramount - Special Events Manager Major League Baseball (MLB) - Operations Manager, Broadcasting Condé Nast - Entertainment Editor, GQ & AD Roc Nation - Marketing Manager (Brands) iHeartMedia - National Sales Coordinator Vevo - Post Production Coordinator Spotify - Podcast Program Manager MUBI - Film Editing & Marketing Intern Sony Music Entertainment - Executive Assistant Warner Music Group - Platform Marketing Manager Universal Music Group - Administrative Assistant, Digital Marketing Influential - Associate, Creator Management The Walt Disney Company - Creative Coordinator Snap Inc. - Associate Producer, Trends Netflix - Coordinator Internal Communications Creative Artists Agency - Media & Entertainment Partnerships Warner Bros. Discovery - Associate, US Content Strategy The New York Times - Puzzle Assistant, Digital Wasserman - Assistant, Partnerships, Creators ESPN - Creative Coordinator OpenAI - Creative Lead, Brand Experiences Roku - Production Manager, Non-Scripted, Branded & Sports Prime Video & Amazon MGM Studios - Executive Assistant Warner Music Group - Global Brand & Audience, Assistant TKO - Operations Manager, Event Technical Operations
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Julia Silverton reposted thisJulia Silverton reposted thisIt was definitely not too late, y’all really gave me some work to do over the holidays ☺️ Submissions are now closed. Thank you so much for taking the time to apply and share. I know job searching is an absolute grind these days, I’m wishing you all your dream job in 2026. __________________________________ Is it too late in the year for a gig alert? 😊 I’m looking for producers and/or project managers to join our team at Yahoo early next year and beyond. Our most immediate need is for an Event Producer, and we’re also looking for strong Creative Producers as 2026 is already looking very busy. All roles are contract, remote, with a preference for US-based candidates. Please see full details and apply below. And feel free to share with your network! Thank you 🤍 https://lnkd.in/evGmWriu
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Julia Silverton posted thisTo all my NYC PRODUCTION friends, if you see this post today, Sunday September 10th, I’m looking to hire a couple of NYC based APs TODAY to start work tomorrow September 11th as production support on an ad campaign that goes live in less than three weeks. Details are: ✅ Available to start work TOMORROW Monday September 11th for 3 weeks, definitely need to be available to work weekends (you will be paid for weekends obviously!) ✅ Have some experience working with advertising agencies and/or production support for creative teams. ✅ Have experience tracking many assets (or similar) at once, working in a fast paced environment with quick turnarounds and being exceptional at staying organized when things change quickly and often. ✅ Understand the concept of usage rights and basic clearance for production. ✅ Have a “Can do!” positive attitude and not easily flustered or frustrated. ✅ Can work remotely but also in the field if needed to support photographers and videographers. If your answer is Yes! to all of the above, email me your resume at julia@qub.tv. Also, please include your relevant experience in the body of your email, TY! And thanks to anyone who passes this post along to someone they know who might be the perfect fit. 💜
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Julia Silverton posted thisIf anyone has recommendations for producers (strong with story/structure) and editors (lead + 2 more), please send my way! Looking for producers to start 3/21 and editors mid-May on a Netflix documentary that combines a live show, verité, archival footage and interviews. Doc/Netflix credits are helpful, but not absolutely necessary. Pre-pro and post are remote (West coast hrs) but must be LA local for a week during the live show shoot. Feel free to DM me, thanks all! #netflixoriginal #documentary
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Julia Silverton posted thisTo all my production folks! I’m looking for a post supervisor to join us in making a groundbreaking Netflix special. DM me along with credits or comment below if you’re interested, thanks all!! #productionsupervisor #netflix #standupcomedy #documentary
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Julia Silverton liked thisCouldn’t be more excited to be part of the wheelhouse team..Wheelhouse Acquires ‘Shark Week’ Powerhouse Anomaly EntertainmentWheelhouse Acquires ‘Shark Week’ Powerhouse Anomaly Entertainment
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Julia Silverton reacted on thisJulia Silverton reacted on thisGreat time representing third and supporting our incredible partner Hotel Chocolat at TikTok Shop's #TasteBuds event in Hollywood yesterday! 🍫 I wish I'd gotten a photo of Hotel Chocolat's beautiful booth before the products disappeared. 👏 👏 👏 Amanda Peraud Angus Thirlwell John Olsen Danny Cairns If you're not familiar with the brand, check out their iconic Velvetiser, delicious drinking chocolates, and gorgeous gift boxes. https://lnkd.in/gh_n8mhF And if you're tracking opportunities in social commerce, keep an eye on the F&B category on TikTok Shop. Food and visual storytelling pair up really nicely... 👀
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Julia Silverton liked thisJulia Silverton liked thisMedia Has Entered the Speed Era For years, scale was the competitive advantage in media. Bigger libraries. Bigger teams. Bigger budgets. More content. Today, speed is becoming just as important. Not speed for the sake of urgency. Speed of adaptation. Because in 2026, the media business is operating on compressed timelines: Audience behavior shifts faster. Platforms evolve faster. Consumer attention moves faster. And increasingly, companies are making decisions with less time. This is creates a major shift inside organizations. The executives who rise are no longer just the people with the deepest expertise. They’re also the ones who can: • Process change quickly • Adapt without losing perspective • Create clarity when the direction keeps moving The organizations gaining momentum today are becoming more fluid, more cross-functional, and more responsive. And this creates a different requirement for leaders. Not more activity. Not more meetings. Not more urgency. Better judgment. Because speed without judgment creates noise. Speed with judgment creates advantage. The media leaders who thrive in the next chapter won’t necessarily be the fastest people in the room. They’ll be the ones who understand what deserves speed — and what doesn’t.
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Julia Silverton reacted on thisJulia Silverton reacted on thisLove how many of our ID Doc Events and True Crime series made this list. Not just these 13, there are so many great projects from our team and the brilliant folks at HBO Docs. HBO Max has become a true must have destination for True Crime fans!13 Best True Crime Shows to Watch on HBO Max (May 2026): ‘Boy Band Confidential’ and More13 Best True Crime Shows to Watch on HBO Max (May 2026): ‘Boy Band Confidential’ and More
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Julia Silverton reacted on thisJulia Silverton reacted on thisSometimes you never know where a great project will take you! Incredible experience in Cannes for the world premier of Steven Soderbergh’s JOHN LENNON: THE LAST INTERVIEW. Sugar23 Michael Sugar Nancy Saslow David Hudson Elizabeth Bricker Matthew Rotondo Alex Anhalt Meta Festival de Cannes #Cannes2026 #JohnLennon #StevenSoderbergh #FilmPremiere #Documentary
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Julia Silverton reacted on thisJulia Silverton reacted on thisIncredibly honored to be included among this group of friends and colleagues. Grateful for the women in this community who continue to support and elevate each other.Variety’s 2026 Women of Nashville Entertainment Report Spotlights Music City’s Movers and ShakersVariety’s 2026 Women of Nashville Entertainment Report Spotlights Music City’s Movers and Shakers
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Julia Silverton reacted on thisJulia Silverton reacted on this2 decades in production, I’d never seen another turban on set. Then 17 months ago, I wore mine and was pretty sure I ruined my career. I'm a freelance video producer. Production is a word-of-mouth, referral industry. People work with people they're comfortable with. The math is simple. You hunt for your food. If I didn't book gigs, the kids didn't eat. And my food came from two places. Clients who booked me again and again. And producers who put my name forward to other producers. Both of those run on the same thing. Comfort. Familiarity. The guy they already know. I was about to change what that guy looked like. After weeks of flip-flopping on the decision, my wife gave me the push I needed: "If this is the decision you want to make, we'll make it work." So I made it. And the phone kept ringing. Producers I'd worked with for years reached out. EPs I respect sent notes. People I assumed would quietly stop calling. I had the most financially successful year of my career. My people have worn turbans for hundreds of years. I wore mine to set for the first time at 35. 2 decades. 100s of shoots. Same bad ass producer.
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Julia Silverton liked thisJulia Silverton liked thisWhat an amazing moment during the Milken Institute Global Conference at our Council of Urban Professionals Power Forum. Thank you Indhira Arrington, John Hope Bryant, Erika Irish Brown (she/her), Michael A. Persaud, and Crescent Muhammad - and so many more for creating an incredible slate of programming and packing the theater at CAA. Relationship capital is an investment. More posts to come - but this pic was special to me.
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Julia Silverton liked thisJulia Silverton liked thisOwnership has become a defining factor in the unscripted business. For a long time, the model was you made the show, delivered the episodes, and moved on. Most of the long-term value stayed with the network. That’s no longer where the leverage sits. When you control the IP, you’re building something that can travel across territories, platforms, and versions. The life of the project extends well beyond the initial order. It also creates optionality. A show can evolve, reboot, expand into live events, digital, or brand partnerships. The original idea becomes a foundation that continues to generate value over time. In this business, distribution keeps shifting, so ownership is one of the few things that compounds. It doesn’t guarantee success, but when it works, it changes the math in a powerful way.
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JS: Various Brands, Agencies & Prod Cos
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Christy Swords
Swords Consulting Ltd • 370 followers
My article on Broadcast responding to the call from Freely for digital terrestrial TV to be switched off as early as 2034. Switching off DTT would be a very different process to DSO, which itself took 13 years from announcement to completion. Even if you access streaming services on your TV today, you may have to junk your set-top box and buy a new one. Your PVR will have to be replaced, if that is possible. Don't forget about those second and third sets: more cost and hassle there. You may also need to upgrade your broadband to remove data limits or improve download speeds. You may need a new fixed-line contract alongside mobile broadband. All of this new kit, time, effort and money will get you nothing extra, just the services you have today. Well, I suppose you may get extra buffering, more signal drops and less PVR functionality. (And remember: after switch-off, if you have to cancel your broadband - e.g. if you lose your job - you will lose streaming access and linear TV. 'Free' TV will overnight become dependent on a subscription.) That is actually the easy part. As many as 1 million homes will need to get connected to broadband for the first time. They will disproportionately be old and poor - and amongst the heaviest watchers of live TV in the UK. For 20 years these homes have resisted signing up to broadband: maybe they don't want it; very possibly, they can't afford it. But now, like it or not, broadband will become a prerequisite for watching TV. The additional expense will take the entry cost of 'free' TV - a broadband contract, plus the licence fee - to over £500 per home per annum. 'Free-ly'? Not really. In reality, much of that cost will fall to the public purse: the price of the broadcasters saving on transmission will be a much larger rise in cost via public subsidy. (BTW this all assumes that high-speed broadband reaches universal coverage by 2034. Good luck Scotland, in particular, if coverage falls short and DTT has already been switched off!) In short, a rushed switch-off will deprive millions of broadcast services they enjoy - and which the most vulnerable in our society rely upon . It risks turning the digital divide into a chasm. It could cost a fortune. And the benefits to viewers are minimal. Thankfully, there is another way: extending the DTT network currently used by around 14 million homes on primary and second TV sets. The even better news is that this can be done for lower cost and with much greater efficiency, using DVB-T2 technology. That will also allow spectrum to be cleared and auctioned, actually raising money for the Treasury. Nor does this mean turning back the clock: Most UK homes already have access to streaming and that will continue to grow. It just means UK viewers enjoying the best of both worlds - linear TV, plus online services - well into the 2040s. https://lnkd.in/exnuiJ4D
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Robin Galloway
Ex DC Thomson, Bauer, Global • 1K followers
Ofcom has enforced a draconian step backwards for UK commercial radio. Ofcom’s new local news requirements for analogue stations might be well-intentioned, but they fundamentally misunderstand how audiences consume news in 2026. Let’s break it down: • Mandatory hourly local news 6am–7pm weekdays • Minimum three peak bulletins at weekends • News must include stories gathered by journalists physically present in the licensed area • Tiered compliance depending on turnover • Full rollout by 2027/28 On paper? Sounds pro-local. In reality? It’s a heavy regulatory throwback. Here’s the uncomfortable truth: Listeners absorb news on their mobile phones. That’s where breaking stories land. That’s where updates evolve. That’s where depth happens. Do audiences care where a story is collated? No. They care that it is: • Relevant to their community • Trustworthy • Clear • Tells them what they need to know That’s it. Radio has done something remarkable over the past decade. As a so-called “legacy” medium, it has stayed culturally and commercially relevant. It adapted. It streamlined. It centralised intelligently where appropriate. It protected quality journalism while managing brutal economic realities. Now we’re layering on: • More mandatory bulletins • Physical presence rules • Fixed scheduling requirements All in an environment where commercial revenues are under sustained pressure. This will not magically improve journalism. It will stretch already thin newsrooms. It will divert money from digital development and talent investment. It will increase compliance cost at the worst possible time. And the “physically present journalist” requirement? In a hybrid, connected, cloud-based media world — that feels especially outdated. Journalism is about verification, contacts, judgement and trust. Not postcodes. Local news absolutely matters. It's been very much part of my career. But relevance is not created by regulation. It’s created by editorial judgement and sustainable business models. If we overload stations with compliance cost, we weaken the very thing we claim to protect. Radio has fought hard to remain relevant alongside TikTok, YouTube, Spotify. and Podcasts. This feels less like protection — and more like hampering on progress. Curious to hear how others in commercial radio are viewing this. Is this safeguarding local journalism — or financially squeezing it? #CommercialRadio #UKRadio #Ofcom #LocalJournalism #FutureOfRadio #MediaRegulation
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