Mike Johns

On the cusp of The Late Show with Stephen Colbert's cancellation, it's crucial to understand and delve into the future landscape of late-night programming. 1. Economic Challenges and Network Retrenchment Networks face mounting hurdles with escalating production costs and dwindling traditional viewership. The decision to retire The Late Show with Stephen Colbert was primarily financial, emblematic of the industry's struggles. CBS's move reflects a broader trend seen in NBC's adjustments to The Tonight Show and Late Night with Seth Meyers. 2. Rise of Digital-First and Hybrid Formats To engage younger audiences, late-night shows are venturing beyond traditional time slots: A) Embracing short-form content on platforms like TikTok and Instagram. B) Exploring YouTube exclusives and viral segments. C) Introducing companion podcasts and live after-shows for enhanced viewer participation. These innovative formats aim to appeal to evolving viewership preferences and diversify revenue streams. 3. Predictions for the Next 5–10 Years A) Anticipate a consolidation of traditional late-night slots or a complete overhaul. B) Established hosts are likely to explore digital avenues or create independent online brands. C) Genre-specific late-night programs focused on politics, tech, or sports could gain prominence. D) Increased collaboration with advertisers for product integration and sponsored content. E) Viewers can expect interactive, on-demand experiences tailored to their preferences. The late-night landscape is undergoing a transformative shift towards a multi-platform model, emphasizing adaptability, revenue diversification, and enhanced audience engagement to navigate the evolving media terrain. As viewing habits evolve, broadcast networks are compelled to embrace this changing paradigm.

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www.MasterFadr.com has rolled out exciting updates to enhance music production and monetization for users. These changes focus on the new Incubator feature, track analysis, UI fixes, and upcoming stem processing tools. Incubator Additions The Incubator is now available for Starter Pro and Unlimited users, with free trial users able to view track previews. Paid access enables earnings per view and direct-to-consumer sales when tracks are uploaded. This creates a marketplace-style incubator for no-render, DAW-free music launches. Track Analysis Features Full track analysis generates custom mastering presets in the signal chain upon upload, tailored uniquely to each track [user query]. Existing presets enhance these without overriding, and manual tweaks remain possible. UI and Compatibility Fixes V1.3 resolves header issues across iOS and desktop in both portrait and horizontal views Upcoming Integrations Major updates include a stem splitter that auto-analyzes stems, fixes phase issues, EQ, Compression, DeEsses adds reverb/delay as needed, balances tracks, and uses Rebounce for high-quality, gain-staged mixes ready for mastering This aligns with tools like Fadr’s advanced stem separation for up to 16 elements. These enhancements position MasterFadr as a comprehensive AI-driven platform for music mastering and distribution,

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#Downtown #Virgin “Virgin Music Group (VMG) announced on Friday (February 20) that it has completed its acquisition of Downtown Music Holdings LLC (Downtown). The closure follows the European Commission’s approval of the deal last Friday (February 13), subject to Universal Music Group‘s commitment to divest Downtown’s #Curve royalty accounting business. UMG’s Virgin Music Group first announced the transaction in December 2024. Alongside the deal’s completion, it was announced that Pieter van Rijn has been appointed Chief Operating Officer of #VMG, having been CEO of Downtown since last year. He will report to co-CEOs Nat Pastor and JT Myers and will continue to be based in Amsterdam. Downtown Founder Justin Kalifowitz confirmed he is stepping away from the company he founded in 2007. Andrew Bergman, previously Chairman of Downtown, will transition into a senior advisory role….” Read the article for more: #VirginMusicGroup #EC #UMG #DowntownMusicHoldings #FUGA #DowntownArtistandLabelServices #CDBaby #DowntownMusicPublishing #Songtrust #MusicPublishing #RecordLabels #Indie #IndieMusic #RecordedMusic #IndependentMusic #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Artists #Fans

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SAG-AFTRA National Candidates Slavin and Antico Formally Challenge Astin and Hurd to Town Hall with Members for Engagement HOLLYWOOD, CA – Chuck Slavin and Peter Antico, candidates for President and Secretary-Treasurer of SAG-AFTRA, are issuing a formal challenge to their opponents, Sean Astin and Michelle Hurd, for a series of virtual town halls and/or virtual debates. This challenge comes as part of a campaign rooted in a commitment to direct engagement and transparent dialogue with all members of the union by Slavin and Antico. Slavin and Antico, both veteran stunt performers and actors, believe that the union’s future depends on a leadership that actively listens to and incorporates the voices of its entire membership, not just a select few. "Our campaign is built on the principle that every member’s voice matters," said Chuck Slavin. "We're not here to tell members what they want; we're here to listen to their concerns, their ideas, and their vision for the union. A virtual town hall or a debate with members in attendance from across the country is the perfect forum for us to have that crucial conversation with the members and with our opponents, so everyone can hear our different approaches firsthand." Peter Antico added, "This is about accountability and transparency. The members deserve to hear directly from all candidates on the issues that affect their livelihoods—from residuals and contracts to pension and health plans. We believe a direct, unscripted exchange is the best way to demonstrate our commitment to an open and democratic union." The proposed virtual town halls or debates would provide a platform for a direct comparison of the candidates’ platforms, giving members the opportunity to ask questions and assess who they believe will best represent their interests. Slavin and Antico are calling on Astin and Hurd to agree to a format that allows for substantive discussion on the critical issues facing the union today. Slavin and Antico believe that true leadership is collaborative and that the input of all members is crucial to moving the union forward.

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This is a big step forward for the animation industry in California and also a huge step in recognizing animation as medium for storytelling...

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L.A. sees 16% drop in film & TV shoot days compared to 2024 - new article: https://lnkd.in/gEDn6XFq - plus Los Angeles On-Location Production Down 16.1% In 2025, But California’s Revamped Tax Incentive Helps Fuel Small Growth In Q4 - new article: https://lnkd.in/gEDn6XFq - plus Why film productions are leaving Hollywood | Morning In America - new video: https://lnkd.in/gbr87r_W - Last year’s 19,694 shoot days was the lowest total since 2020, according to the nonprofit FilmLA, which tracks filming in the greater L.A. area - In 2024, that total was 23,480 shoot days - About 13% of the shoot days in the greater L.A. area in Q4 were the result of incentivized productions - Since the program expanded in July, 119 projects have been awarded - Since all approved projects have 180 days after receiving their incentive award to begin production, FilmLA says to expect more movement in the coming months - Cash infusions alone aren’t going to revive Los Angeles’ film & television industry - Local officials have been working to streamline some of the permitting processes, reduce fees, & make the area more accessible for productions

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Summons Productions Announces Dual Bay Area Music Residencies for 2026 In a strategic expansion that reflects its rising influence in the independent music sector, Summons Productions, under the leadership of Chairman and CEO Drananda Summons, has secured two year-defining music residencies in the Bay Area—Berkeley and San Francisco—positioning the company for a landmark 2026. The Berkeley Residency, scheduled to launch January 2026, will serve as the flagship location for the Summons Productions performance series Summons Lounge. Designed as an incubator for independent musicians, vocalists, and cross-genre creators, Summons Lounge has rapidly become a proving ground for emerging artistry and an essential space for music discovery in Northern California. In May 2026, Summons Productions will extend its reach with a second Summons Lounge Residency in San Francisco, widening its platform for musicians seeking industry-level performance opportunities without the barriers often found in traditional venues. This dual-residency structure marks a significant evolution in the company’s music-driven programming, allowing Summons Productions to operate simultaneously in two of the Bay Area’s most competitive cultural markets. Both residencies are being established in partnership with North Beach Pizza Berkeley & San Francisco, whose venues have become hubs for live music, creative gatherings, and community-centered entertainment. Their collaboration with Summons Productions underscores a shared mission: to cultivate accessible performance spaces that elevate independent music while supporting the creative economy of the region. As Summons Productions enters 2026 with two anchored residencies, the company strengthens its position as a leading force in the Bay Area’s independent music landscape—bridging artists, audiences, and industry pathways through the ongoing evolution of Summons Lounge.

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California Steps Up for Indie Film Fantastic news for creators—especially independent ones! So encouraging to see real investment in reviving California’s film, TV, and animation industry. It would be even better to see a built-in incentive specifically designed to support lower-budget films. Those stories often carry the most grit and heart—and with the right boost, they can go far. #IndieFilm #FilmIncentives #CaliforniaFilm #CreativeEconomy #SupportIndieVoices #Filmmaking #StorytellingMatters #WomenInFilm #NarrativeNonfiction #ContentThatMatters #GetInTheBoat

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More good news coming out of California! On July 3rd, California Legislature approved a supplemental bill further expanding the Film and Television Tax Credit Program. Below are some key updates: ▪️ Increases tax credit to 35-40%  ▪️ Expands allowable project types to include animated films, live-action or animated television programs with episodes of at least 20 minutes & with a budget over $1M per episode, and large-scale competition TV shows with a budget over $1M per episode ▪️ Increases per project caps  ▪️ Allows for a refundable tax credit for Program 4.0 applicants

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Sharing from Bob Lehman. Leaders lead. The people’s money. The people’s arts & culture. Note: keep in mind that the city’s budget is UP, not DOWN, as many are assuming. More money spent overall than last year (almost $2mm more per day)…but arts gets $0. So, arts funding is SIX DAYS of the increased funding going elsewhere. I still believe that Todd Gloria will change his mind and terminate the Director of Happiness Prevention. Fiona Chatwin Morgan Appel Susan Clausen Kimberly King Christina Piranio SD Art Matters Library Foundation SD San Diego Museum Council Museum of Contemporary Art San Diego Children's Museum of Discovery Kristen Fogle Rosario Monetti Nancy Laturno Victor Hugo Minces Silvia Vicenzi, Ph.D., M.Sc., mMBA Gabe Dagrezio

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Subject: Strategic Recommendation: Elevating Compensation in the Los Angeles Radio Market (Market #2) The Los Angeles radio market—our #2 ranked market nationally, with a population of approximately 11.2 million—represents one of our most significant opportunities for sustainable growth and competitive advantage. It is unacceptable, both ethically and from a business performance standpoint, for any employee in a organization to earn only the minimum wage. In a high-cost metropolitan area like Los Angeles, minimum wage (currently $16.90/hour as of 2026) falls far short of a true living wage, which research indicates is closer to $27–$28 per hour for a single adult in Los Angeles County (and substantially higher when supporting dependents). I am confident—and the evidence from high-performing organizations across industries strongly supports—that investing in competitive, living-wage compensation for all team members would materially increase our revenue and overall financial performance. While the upfront cost may appear counterintuitive, properly compensated employees drive higher productivity, lower turnover, stronger innovation, improved customer engagement, and ultimately greater market share and profitability. I strongly recommend we conduct a comprehensive review of our compensation structure in this key market (and potentially across the portfolios of all major radio stations) to ensure alignment with both market realities and long-term value creation. I am available to discuss this further and provide supporting data or benchmarks at your convenience. Best regards, Raul

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“The preference, researchers argue, isn’t about escapism, but about connection.” I’ve argued for a while now that there’s a narrative paradigm shift happening with younger audiences, where their entertainment consumption is predicated less on the Freudian/Campbellian wish fulfillment of transposing yourself onto the protagonist, and more about wanting to spend time with characters who feel like your friends. Pandemic isolation + normalcy of social media parasocial relationships = a desire for connection with nuanced characters. Anime has capitalized successfully on this shift better than any other filmic medium. Isekai (a genre which I personally find redundant) holds down the fort on the Campbellian self-insert storytelling (similarly to the way U.S. action procedurals do), while Japan’s successful action/adventure franchises feature ensemble casts that audiences can both see themselves in AND befriend. Commissioning multiple cours means more time to spend with your character-friends. Robust consumer products rollouts means you can invite them into your home. The question for younger audiences is less “do I see myself in the main protagonist” and more “can I see myself in one of these characters and spend meaningful time with the rest of them?” It’s a question anyone developing in this space should consider as well.

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California just gave entertainment a very clear signal: The future of production is not only about Hollywood. It is about the full production economy. Governor Newsom announced 38 new film projects coming to California through the state’s expanded Film & Television Tax Credit Program. Nearly $800 million in economic activity. $554 million in qualified spending. $373 million in qualified wages. And here is the part more people should be watching: More than 460 filming days are expected to happen outside the traditional 30-mile studio zone. That matters. Because production is no longer just about what gets made. It is about where it gets made. Which communities benefit. Which crews get hired. Which formats qualify. Which incentives shape the market. Which production models become scalable. And for the first time, animated features are eligible too. That is a huge signal for anyone watching vertical entertainment. Because vertical drama is not just a content trend. It is becoming part of a larger shift in how entertainment gets financed, produced, localized, packaged, and distributed. The old Hollywood question was: “Who has the best script?” The new Hollywood question is: “Who understands the entire production economy?” Tax credits. Animation incentives. Regional production. AI workflows. Mobile-first distribution. IP monetization. Outside-the-studio-zone production. That is the layer I’m tracking with 9:16 Vertical Intelligence. Production follows incentives. Vertical entertainment follows intelligence. Subscribe: https://lnkd.in/gWuKWnhH #Verticals

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SESAC Music Group has raised $889 million through a whole business securitization backed by nearly all its assets and revenue streams, including its PRO, Harry Fox Agency, AudioSalad, and other subsidiaries. The offering was three times oversubscribed, showing strong investor confidence. This marks SESAC’s fourth securitization and brings its total outstanding debt to roughly $1.1 billion. Unlike catalog-backed deals, SESAC securitizes its full operations to fund expansion, including past acquisitions like Audio Network. CEO John Josephson says the strategy supports long-term growth and lowers capital costs while reinforcing their commitment to serving independents. https://lnkd.in/g9gppi-z #SESAC #SESACMusicGroup #musicindustry

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Excited to announce our recent collaboration with Sundial Media & Technology Group for the ESSENCE-branded FAST channel. This partnership embodies our commitment to serving underrepresented audiences with authentic content and substantial growth opportunities. The landscape is evolving rapidly, with Black viewership on streaming platforms increasing by 40% annually. Despite this surge, tailored programming for Black women remains limited on major CTV and digital platforms. Our initiative goes beyond filling this void; we are establishing a dedicated cultural hub. By merging ESSENCE's 55-year legacy as the voice of Black women with our production and distribution expertise, we are poised to expand our impact significantly. Partnering with a brand that attracts over 500,000 attendees annually to the largest Black culture festival ensures access to a highly engaged consumer base with proven loyalty and purchasing power. The game-changing aspect lies in our development of direct distribution channels. Ownership of distribution is pivotal as it allows us to deliver genuine content directly to the intended audiences, bypassing intermediaries. This move enables us to seamlessly transition the festival enthusiasm and community spirit into year-round premium content on Connected TV, YouTube, and major FAST platforms. What sets this endeavor apart is our focus on creating sustainable revenue streams for Black women creatives while establishing direct connections with culturally involved and economically active audiences. This isn't merely a channel launch; it's about fostering economic empowerment and steering the narrative from creation to distribution. It's about distribution rooted in and driven by the culture. #StreamingStrategy #Partnership #femalecreators #CTV #DigitalMedia #HARTBEAT #ESSENCE #Distribution Source: [Link to the article](https://lnkd.in/gcqXvr9H)

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FILMMAKERS: RUN OUT OF MONEY AND YOU LOSE THE RIGHT TO DICTATE TERMS This is for filmmakers, writers, and directors who think passion substitutes for capital discipline. When your film runs out of money late—production or post—you are no longer raising equity. You are raising rescue capital. That means something broke. The budget failed. Contingency is gone. Time is bleeding. Quality is under pressure. Leverage has shifted. At that moment, you are not pitching opportunity. You are asking someone to absorb your mistakes. In every real industry, the last money in is understood to be the most dangerous money in. In real estate, a half-built project that runs short doesn’t get friendly money. It gets rescue capital with higher preferred returns, senior positioning, and control provisions because the asset is already impaired. Film is no different, even if creatives want it to be. If you’re asking someone to step in late and save your movie, you should expect to pay at least ten additional points of preferred return over early capital. Minimum. Often more. That investor is underwriting completion risk, reputational risk, market risk, and the very real possibility that the project still fails. If that sounds harsh, understand this: You don’t have leverage when you’re out of money. The person writing the check does. Being offended by that reality doesn’t make it wrong. It just exposes inexperience. Too many creatives confuse confidence with entitlement. Wanting late-stage capital on early-stage terms isn’t optimism. It’s delusion. Great directors master the craft. Serious filmmakers master the business. The ones who don’t eventually learn who really controls outcomes. The last money in is the most dangerous money in. Dangerous capital is never cheap. Disclosure: This post is for commentary and educational purposes only. It does not constitute investment advice, an offer to sell, or a solicitation to purchase any security. Any references to returns, structures, or terms are illustrative only. All investments involve risk, including loss of principal. Any investment decisions should be made with qualified legal, tax, and financial advisors and in compliance with applicable securities laws.

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I’m thrilled to share that CashorTrade has officially partnered with Sweetwater Music Hall in Mill Valley, CA. This partnership goes beyond just tickets—it’s about protecting the fan experience while also supporting venues and artists. By making CashorTrade the official secondary marketplace, Sweetwater is ensuring: ✅ Tickets stay in the hands of real fans at face value ✅ Fewer no-shows and chargebacks ✅ Fuller rooms, which means more energy for the artist and increased revenue for the venue through concessions, merch, and beyond We’ve long proven the value of a fair, community-driven secondary market for fans and festivals—and now we’re expanding this program to venues across the country. Sweetwater is an iconic step forward in this journey, and I couldn’t be more proud to grow this partnership program. This is the future of ticketing: fair, transparent, and sustainable for everyone involved.

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Producer/Director James Pratt discusses strategies on attaching marketable and "name" talent to your film (Big Apple Film Festival Industry Networking Sessions). James Pratt is an award-winning director and producer residing in Los Angeles, California. His most recent work includes being executive producer on 4-time academy award nominee Edward Norton's Longevity Hackers (2024) and associate Producer on Harland Williams new comedy Film, Wingman (2025) which stars Kayla Wallace (Landman) and Jamie Kennedy (Romeo + Juliet). #BigAppleFilmFestival #FilmIndustryNetworking #JamesPratt #FilmDirector #FilmProducer #IndependentFilm #FilmmakingTips #AttachNameTalent #CastingStrategies #FilmProduction #HollywoodFilmmakers #LongevityHackers #WingmanMovie #IndieFilmmakers #FilmmakerNetworking #BehindTheScenes #MovieMaking #FilmFestivalSeason #CreativeProducers #DirectorLife

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