Media fragmentation is a pervasive topic in our industry. It crops up in several of this week’s Directors Series profiles, for instance, with such projects as viral spots, Web shorts, Internet events and targeted cable series bringing helmers into creative prominence. Fragmentation is also what prompted a two-year extension of the commercials contract for actors as the ad business and the actors’ unions plan to take that time via an independent study to figure out equitable compensation models in a brave new media world.
Yet while there’s constant corridor talk about new media and the splintering of audiences, rarely do I hear discussion in our corner of the biz about the ironically rampant antithesis of fragmentation: media ownership consolidation. It’s certainly being discussed in the entertainment sector. Earlier this month Hollywood producers and union representatives testified at a regional FCC hearing in Los Angeles, objecting to the relaxation of media ownership rules over the years, which they contend has resulted in the consolidation of power into far too few hands.
The impact compromises varied areas, perhaps most sadly journalism as evidenced on assorted fronts, a prime example being Tribune’s ownership of The Los Angeles Times, which has translated into significant staff cutbacks, prompting community leaders to protest, with some urging that Tribune divest itself of the newspaper.
However, most of what I hear and read from ad industry pundits regarding media ownership consolidation is centered on strategies, with savvy business moves by agency holding companies (acquiring additional shops, including media firms) and by the likes of Rupert Murdoch being lauded. In Murdoch’s case, there’s News Corp.’s high-profile acquisition of MySpace, adding to an empire that consists of assorted newspapers, the Fox stations spanning broadcast and cable and satellite holdings.
The most eloquent retort to such all encompassing ownership came from director Frank Capra in Mr. Smith Goes To Washington, which shows how a media mogul with power can influence opinion and the flow of information to the detriment of the public at large.
But perhaps I am the dinosaur, citing a 1939 movie. Next I’ll be babbling about the Sherman Antitrust Act, recalling when it actually meant something.
Nonetheless the potential for the abuse of power remains a relevant issue, particularly for those further down on the food chain. In our industry consider the slow payment problem that has compromised the financial health of production companies and other support services in recent years.
And the situation is worsening, the irony being that huge multinational corporations are asking small entrepreneurial shops to bankroll production for extended periods.
While fragmentation is a hot industry topic, so too should be what happens under the guise of consolidation.
“Mufasa: The Lion King” and “Sonic 3” Rule Box Office For 1st Weekend Of 2025
The Walt Disney Co.'s "Mufasa: The Lion King" claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.
The photorealistic "Lion King" prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount's "Sonic the Hedgehog 3," which has dominated the past two weekends, wasn't far behind.
"Sonic 3" stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. "Mufasa's" running total is slightly less, with $169.2 million.
In third place, Focus Features' "Nosferatu" remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable. "Nosferatu," which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).
No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, "Moana 2," claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.
The Bob Dylan biopic "A Complete Unknown," dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in... Read More