That’s according to a study from National Research Group in collaboration with The Wrap, which found audiences of all ages (but especially Gen Z and Gen Alpha) express a desire to reconnect with reality as a response to how isolated technology has made society.

“The majority of consumers believe that real-world experiences are more meaningful, more authentic to their true identities, and more conducive to building relationships with others,” NRG reports.

Out of 3,500 surveyed consumers between the ages of 13 and 64, 61% agreed that “real-world experiences feel more meaningful and memorable than digital ones,” with only 12% arguing that digital experiences can be equally meaningful and memorable. Likewise, 53% shared that they feel more like themselves while in the real world rather than online, and 56% feel more connected to people in the real world rather than online.

The study also found Americans expressing a greater interest in in-person events than at-home activities across four out of five key categories: movies, sports, gaming and dining. The only holdout was music — which makes sense considering the massive gulf in commitment between queuing an artist up on streaming and making the lengthy and pricey trek out to a full concert.

“Despite being the most digitally fluent generations in history, they’re also among the most eager to spend more of their free time offline, whether that’s going to the movies or simply playing video games with friends in the same physical space,” the report said.

The key demographics yearning for these live experiences may surprise readers. While Gen Z and Gen Alpha have both largely grown up in a world with entertainment constantly at their fingertips, these two generations demonstrate the largest enthusiasm in live experiences rather than remaining at home.

For example, out of 6,100 surveyed, 59% of Gen Alpha prefers watching movies in theaters more than at home, while 50% prefers attending sporting events in-person. Compare that to Gen X, where only 46% prefers watching movies in theaters and 42% prefer attending sporting events in-person.

The song remains the same across film, sports, video games and music, with Gen Alpha and Gen Z consistently being the two age groups most interested in live entertainment. The only exception is dining, where Gen Alpha is the most interested in dining out over ordering takeout or delivery, but Gen Z is the least interested. All four age demographics, however, had more 50% of those surveyed interested in dining out over dining at home.

What drives the Gen Alpha/Gen Z interest in live experiences? According to NRG, it’s the social aspect of being in a real environment with other people.

“In the case of moviegoing, for example, older generations are more likely to say they enjoy going because of the quality of the sound or the picture quality in theaters relative to what’s on offer at home. Younger Americans, on the other hand, go because they enjoy the experience of spending time with their friends and family, experiencing communal moments of joy and delight with others in the same physical space,” the report said. “That’s also why kids and teens are the most likely to say that they prefer going to a busy theater over a quiet one: it’s about the energy in the room as much as the story on the screen.”

The report noted a number of ways that theaters explicitly have attempted to drive in-person viewership in recent years, selling audiences on specialty experiences that can’t be recreated at home. “One Battle After Another” sold out screenings in the revived VistaVision format of the 1950s and early 1960s, while Ryan Coogler explained to audiences the differences between film formats to encourage 70mm IMAX viewings of “Sinners.” 

A number of experiential or novelty screenings popped up in 2025: “The Long Walk” invited a select audience to watch the film walking on treadmills, “Bugonia” hosted an early screening where audiences had to shave their heads to enter. The Sphere in Las Vegas, meanwhile, made headlines for its immersive and AI-expanded adaptation of “The Wizard of Oz” for the venue’s specialty spherical format.

We’ve also seen theaters increasingly try their hands at programming screenings that aren’t movie-based in recent years, such as the “Stranger Things” finale and WWE WrestleMania. Theatrical events like these can prove crucial in a time when concerns over ticket prices to live sporting and music events continue to mount.

When NRG surveyed 3,000 participants between the ages of 13 and 54 over what non-movie content they’d attend in a movie theater, 64% expressed an interest in seeing landmark TV episodes (like finales and premieres), while 57% would see other special TV episodes (like reunions or holiday specials). 48% said they would watch live sports in a movie theater, and 47% were interested in other live events like televised concerts, but only 35% would watch an award ceremony in a theater.

“Theatrical spaces,” the study concludes, “are increasingly being reimagined as experiential hubs that can offer viewers something fundamentally different from what they’d get in their bedrooms or their living rooms.”

The post Why Young People Are Poised to Save Movie Theaters, In-Person Entertainment | Charts appeared first on TheWrap.

Lindelof was one of over 1,000 signatories to sign the open letter Monday. The other names attached to the document include industry heavyweights like J.J. Abrams, Denis Villeneuve, David Fincher, Jason Bateman, Kristen Stewart, Emma Thompson, Noah Wyle, Ben Stiller and Lin-Manuel Miranda. Together, they express their deep concerns about the merger and, specifically, the signs that it is being supported by those prioritizing “the interests of a small group of powerful stakeholders over the broader public good.”

“The integrity, independence, and diversity of our industry would be grievously compromised,” the open letter stated. “This transaction would further consolidate an already concentrated media landscape, reducing competition at a moment when our industries — and the audiences we serve — can least afford it. The result will be fewer opportunities for creators, fewer jobs across the production ecosystem, higher costs, and less choice for audiences in the United States and around the world.”

Lindelof, for his part, took to Instagram to express not only the initial fear he felt about attaching his name to the letter, but also the existential concerns that led him to ultimately do exactly that.

“When I was asked to sign a letter that openly opposed the sale of Warner Brothers to Paramount/Skydance, I felt two things; the first was that yes, absolutely, of course I opposed it. The second was oh shit, I’m afraid to say so publicly,” Lindelof wrote. “Fear is embarrassing. No one wants to be the guy puking in the boat in ‘Saving Private Ryan.’ They want to be the ones storming the beach. So why was I afraid? Some implied retaliation?”

“Being put on some list of rabble-rousers? Getting kicked off the beloved Warner Brothers backlot I have called home for the last fifteen years?” Lindelof continued, adding that he “sort of” knows Paramount-Skydance CEO David Ellison. “We produced a few things together not too long ago. I found him to be bright, ambitious and passionate. He loved movies and trusted the people he made them with. But still… Better not to risk it.”

View this post on Instagram

A post shared by Damon (@damonlindelof)

The Emmy winner said he briefly thought the letter — and his participation in it— would be pointless and that the document would “evaporate into the s–tstorm of an unrelenting news cycle.” But in the end, not even that was enough to stop him.

“Hollywood, believe it or not, is a blue-collar town. It’s thousands and thousands of Grips and Gaffers. Drivers and Decorators. Builders and Boom operators. Camera teams and Caterers. And they’re all about to get f—ked,” Lindelof explained. “Hollywood mergers mean fewer movies and fewer TV shows and that means fewer jobs. When two storied backlots are owned by the same company, the outcome is intuitive — one becomes a Ghost Town.”

“I’m scared. But I’m not a ghost. And a fight is already lost if it’s never fought. So I signed. Proudly. I understand why many of my peers have not — trust me, I’m more of a puker than a stormer,” he concluded. “But these boats are heading for the beach whether we like it or not… The only thing we have any control over is what we do when we get there.”

Lindelof’s comments came as Ellison has continued, unwavering, to push for the completion of his company’s proposed $110 billion acquisition of Warner Bros. Discovery. He has previously said that the sale could close as early as this summer, depending on regulatory obstacles. Meanwhile, concerns about the merger’s potential impact on Hollywood’s economy, output and job landscape have only continued to grow among those both within and outside of the entertainment industry.

In addition to expressing those very concerns, the Lindelof-signed open letter shared Monday declares support for California Attorney General Rob Bonta and his colleagues in other states, who have not only remained skeptical of the merger but have also reportedly been considering legal action to block it.

“We are grateful for their leadership,” Monday’s letter further noted, “and stand ready to support all efforts to preserve competition, protect jobs, and ensure a vibrant future for our industry, for American culture, and for our single most significant cultural export.”

The post Damon Lindelof Warns Paramount-WBD Merger Will Turn Warner Bros. Lot Into a ‘Ghost Town’ appeared first on TheWrap.

Rae announced the news at TheWrap’s Creators x Hollywood Summit on Wednesday, in partnership with Whalar and The Lighthouse, a half-day event exploring the intersection of creators, culture and the entertainment industry.

“TikTok is building a new model for micro-series, pairing creator-led storytelling with scaled distribution to reach audiences faster than ever,” Dawn Yang, Global Head of Entertainment Partnerships at TikTok, said in a statement to TheWrap. “We’re actively investing in the micro-series space and excited to partner with innovators like Issa Rae to bring bold, story-driven content to life across TikTok and PineDrama.”

During the panel conversation “Paving the Way: Creators in Hollywood,” Rae told TheWrap’s Raquel Calhoun that she designed “Screen Time” for the way audiences are consuming content today.

“I’ve been really excited about the microdramas space for a while and as a company when I think about our survival and our relevance, I want people to feel like, Hoorae is a part of their daily routines and part of their lives,” Rae said. “And this feels like an accessible point.”

“We’re so fortunate, which I’m announcing today too is we’ve done a deal with Tiktok to partner and do microdramas starting with ‘Screen Time’ and a few more, and it’s the first of its kind deal in this way, but it just makes my films and microseries more accessible for us,” she continued. “We’re doing it as minute soaps, and we’re still working out the release format, but again, it’s a way to kind of put our stamp on [the genre.]”

The new series and business endeavor marks Rae’s return to digital media, 15 years after launching her award-winning YouTube series “The Mis-Adventures of Awkward Black Girl.”

Together, TikTok and Hoorae will co-develop a slate of additional micro-series that will air exclusively on TikTok and its new microdrama app, PineDrama. “Screen Time” will land on the platforms later this month.

Here’s a description of the series, per Hoorae: “‘Screen Time’ begins with a double-date movie night disrupted by a mysterious figure who hijacks the TV, forcing the couples to confess their secrets or risk exposure, sparking a rapid escalation that threatens to unravel their relationships and lives.”

You can take a look at the series yourself in the video below.

The cast includes Brittney Jefferson (“Rap Sh!t”), Eric C. Lynch (“Queen Sugar”), Jasmine Luv (“Tell It Like a Woman”), Xavier Avila (“Shrinking”) and Jenna Nolen (“À La Carte”).

TheWrap’s Creators x Hollywood Summit is an invite-only gathering of the top creators, entertainment leaders and brand partners who are shaping the future of storytelling and the new entertainment economy.

TheWrap’s Creators x Hollywood is presented in partnership with global creator agency Whalar and The Lighthouse, both part of the Whalar Group. It is sponsored by City National Bank, Fox Entertainment, Lionsgate, Loeb & Loeb LLP and WEBTOON. 

The post Issa Rae’s Hoorae Media Sets First Microdrama Series ‘Screen Time’ in TikTok Content Deal | Exclusive appeared first on TheWrap.

The executive revealed that since audiences are already addicted to scrolling on their devices, they might as well be consuming scripted content that gives an escape rather than real-world content that makes them wallow. 

The yet-to-be-released platform MicroCo was founded by Hollywood executives Rovner, Jana Winograde, Cineverse and Lloyd Braun’s venture firm Banyan. Though it comes from creatives from traditional entertainment unlike some other apps, Rovner insisted the app is not attempting to reinvent the wheel. 

“I personally feel like there’s a lack of respect sometimes for the audience of these and you hear things like they’re cheesy,” she said in March. “That bothers me to no end. There is a really big fandom here that needs to be respected, and that should be respected.”

Rovner, chief creative officer of MicroCo, was joined on the Warner Bros. lot by Matthew Ko, CEO of Knockout Shorts; Silas Wang, head of talent and brand partnerships at DramaBox; and Vivian Anan Wang, head of content at Crisp Momentum, for a Hollywood Radio and Television Society panel last month. Fox Entertainment Studios’ Sara Chiang-Pistono moderated the conversation.

Rovner clarified that, while her venture hopes to elevate the content by expanding genres and reach, MicroCo’s budgets are low in order to compete with leading platforms like ReelShort, GoodShort and MyDrama. It’s her plan to appeal to the dedicated fanbase rabidly consuming this content. 

“Traditional media stopped making soap operas and stopped making mid-range romances. It wasn’t cost-effective,” Rovner explained. “And just because you stop making it doesn’t mean that people don’t want it. I think the microdrama space came in and saw that there are people who were desperate for this content, and it wasn’t being offered to them.”

Screenwriter Vivian Anan Wang told the audience that seeing her scripts go from page to a phone screen in a couple of months is thrilling in an industry that has seen mass consolidation. 

“Every single script I write is in production in months, and you see it on screen,” she said. “That cured the depression every screenwriter is suffering from.”

While the microdramas space has grown significantly in the U.S. with more Hollywood interest still to come, Silas Wang of DramaBox told the panel that the domestic production is still “Verticals 1.0” compared to China. 

“The verticals in China are Vertical 3.0,” he noted. “It really started in similar forms, but in the past few years, it is really growing with the audience. A lot of the verticals in China are very cinematic, so I think that’s where we’re hoping to see.”

Matthew Ko has launched his own microdramas studio, which he says focuses more on elevated storytelling compared to the romantic, soapy tropes prevalent in the microdramas industry today. He clarified that Knockout Shorts will create less output than its competitors but at a higher quality, giving writers and producers “more cushion.” 

“We are respecting the audience and giving them the tropes in the format of what they’re used to,” Ko said. “But making some slight variations to bring in creators and influencers and people who are very interested in the space that want to play in it, but might not want to do the traditional buzzy romance.”

The company has also teased that its early projects will feature an Academy Award nominee, making his microdrama debut. “We’re about to go to market with that one – hopefully the people next to me like it,” he further joked. 

With many platforms producing nearly 30 productions a month, DramaBox’s head of talent and brand partnerships said that the most fulfilling part of his job is allowing aspiring actors to make their living performing. 

“I talk to a lot of actors. Many of them have told me for the first time in their life they’re able to work as an actor without waiting tables and bartending,” Silas Wang shared. “People come here to [Los Angeles] chasing dreams and then they’re stuck waiting tables, and it’s such a beautiful thing that they’re able to live different lives through these characters.”

“With the consolidation obviously that is happening right now in traditional Hollywood, the barrier to entry is enormous,” Rovner added. “The amount of jobs that are being cut every day, the less television shows that are being made, the less features that are being made, there’s less work, and I think the microdrama space has taken down those barriers.”

When asked what is on the horizon for these verticals, Crisp Momentum’s head of content said that she thinks the next step is a free, ad-supported model (microdramas have been largely successful from the coin-based subscription model used by all of the major platforms thus far). 

Viewers can watch the first eight to 10 episodes of any series for free before paying a hefty fee per segment. Wang teased that there will be a stark difference in the shows that are free to watch and those you have to pay for, basing her prediction off of the Chinese market. 

“Another change that I hope can take place here is shows that really speak to the public sentiment,” she said. “That’s how verticals took off in China, because it’s really tapping into the fear, the anxiety, the things people worry about every day, and I think that that needs to happen here.”

The post Susan Rovner’s MicroCo Bets on ‘Joy Scrolling’ and the High-Speed Microdrama Production Pace appeared first on TheWrap.

They will be joined by directors Brad Bird, Ryan Coogler, Jason Reitman and Celine Song, as well as executive director Greg Foster. Bruckheimer will serve as chair alongside Thomas as vice chair.

“Our industry is strongest when it works together to promote the singular experience of seeing a movie on the big screen,” Cinema United president/CEO Michael O’Leary said in a Wednesday statement. “That is what drives us — and it is what will forge the Next Great Era in Cinema. The importance of having Jerry and Emma at the helm of this initiative, at such a critical time for our industry, cannot be overstated. The insight, leadership, passion and impact from the entire leadership council is unparalleled, and we are honored to be working alongside all of them to secure the future of the theatrical experience for generations to come.”

The issues at hand include “consolidation, sustainable windows, the promotion and marketing of the cinematic experience, and highlighting innovation and technology,” according to the FLC.

“Movies that captivate audiences and take their breath away—that’s why so many of us got into this business in the first place. There is nothing like that feeling of sitting in a dark theatre, the sound washing over you, watching something unfold on a massive screen that you simply cannot replicate anywhere else,” Bruckheimer added. “As filmmakers, we pour everything we have into creating those moments. We are at a defining point in the future of this industry, and I am honored to join this incredible group of filmmakers and work alongside Cinema United to ensure that experience endures — in cities and towns across the globe, for audiences everywhere.”

“There is a profound cultural value in gathering together with a group of strangers and connecting while experiencing something special on the big screen,” Thomas echoed. “That shared moment — the laughter, the tears, the collective intake of breath — is irreplaceable. That is what this is about: making sure that cinemas of all sizes, around the world, can continue to present our stories in the best possible setting, so movie fans of all ages can enjoy them as they were intended to be seen.”

The news comes just a week ahead of CinemaCon 2026 in Las Vegas, where O’Leary, Bruckheimer and Thomas will discuss the council’s work of championing the future of cinema worldwide.

“On behalf of everyone in exhibition, I want to express our profound gratitude to this remarkable group of filmmakers for their commitment to this cause,” O’Leary concluded. “We are excited to work together to ensure that local theatres continue to be cultural and economic anchors of their communities, and to preserve the unparalleled experience of a movie on the big screen for moviegoers everywhere.”

The post Cinema United Sets Filmmaker Leadership Council With Jerry Bruckheimer, Emma Thomas and More appeared first on TheWrap.

Kalshi data will be incorporated across Fox’s TV and digital platforms, and used for data visualizations spanning politics, economics and weather reports, according to the company. Fox News will not use Kalshi data for its election coverage, TheWrap has learned, as the network has its own election data team.

The Hollywood Reporter first reported the news.

The agreement is a “sponsored integration,” or paid product placement. It comes as media companies continue to lean into the prediction market space; CNN and CNBC both struck deals with Kalshi last year, and the Associated Press licensed its election data to the service last month. Dow Jones, parent company of the Wall Street Journal made a deal with rival Polymarket, which also joined with Penske Media to become the Golden Globes’ official prediction partner earlier this year.

“More people are watching Kalshi’s forecasts than trading them, which says a lot: our data effectively complements news and polls,” Tarek Mansour, co-founder and CEO of Kalshi, said in a statement. “As misinformation grows more common, Kalshi offers accurate, unbiased data to help people better understand what’s going on in the world.”

“Prediction markets have quickly become an essential data point and a compelling new experience across our live content portfolio,” Paul Cheesbrough, Tubi Media Group’s CEO, added in the statement. “By integrating Kalshi’s real-time data into our fast-growing streaming platform FOX One and across FOX News Media’s leading networks, we’re giving audiences both deeper insights and a more engaging way to follow the stories that matter most.”

Kalshi also said institutions such as the Federal Reserve have adopted its data. About 70% of users turn to the platform to follow market trends, while 30% place bets, the company said.

The post Fox Corp, Kalshi Strike Deal to Bring Prediction Data to TV, Streaming appeared first on TheWrap.

“The stakes of this deal could not be higher for our members and the future of the U.S. film industry,” Michael O’Leary, Cinema United CEO, wrote in the letter. “Further consolidation will inevitably lead to fewer movies being made. Fewer movies will mean fewer theatres, fewer jobs, and fewer choices for American consumers, along with higher prices.”

O’Leary added: “I therefore respectfully urge you to closely scrutinize this acquisition and the likelihood that it will substantially lessen competition in the entertainment industry and cause harm to Main Street America.”

He also pointed to the Disney-20th Century Fox merger as a cautionary tale. “In 2016, for example, Disney and 20th Century Fox separately released a combined
26 new titles, opening in more than 2,000 domestic locations,” O’Leary wrote. “In the wake of the Disney/Fox merger, however, last year, their combined total fell to just 14 wide releases, a 46% decline.”

O’Leary further noted that, in terms of box office, “20th Century Fox titles generated $1 billion less last year than in 2016 — a nearly 70% drop.”

In 2019, Disney’s acquisition of 20th Century Fox went largely unchallenged by regulators, and in the years since, the Disney-owned 20th Century Studios has never released more than five films in theaters in a single year, compared to the 12-18 films it released annually in the 2010s.

“Based on our review of the proposed merger between Paramount and Warner Bros., we have no reason to believe the outcome would be any different,” O’Leary wrote.

Historically, state AGs have worked in tandem with federal regulators like the Department of Justice and Federal Trade Commission on antitrust enforcement. But under the Trump administration, M&A regulation has taken a radical turn. 

“The federal government is retreating from its traditional role, abdicating its responsibility to enforce antitrust law and seemingly picking winners and losers,” California AG Rob Bonta told TheWrap.

That’s forcing the state AGs to play a more central role in deciding whether some of the biggest deals in the U.S. will reduce competition and hurt consumers.

“I strongly urge you to thoroughly investigate and move to block this proposed merger to ensure it does not harm competition or our local communities,” O’Leary concluded.

The post Cinema United Urges State AGs to Scrutinize Paramount-WBD Merger appeared first on TheWrap.

Overall, the U.S. economy added 178,000 jobs last month, blowing past expectations with the biggest gains in sectors including healthcare, construction, transportation and warehousing. The unemployment rate hit 4.3%, while average hourly earnings rose by 9 cents to $37.38. For the year, average hourly earnings have increased by 3.5%.

The number of long-term unemployed individuals, defined as those jobless for 27 weeks or more, changed little at 1.8 million in March, but is up by 322,000 over the year. The long-term unemployed accounted for 25.4% of all unemployed people for March. The number of total unemployed people was little changed at 7.2 million.

BLS also revised its data for January, which added an additional 34,000 jobs for total growth of 160,000; and February, which shed an additional 41,000 jobs for a total loss of 133,000 jobs. Surveys conducted by the BLS for this report were completed by March 12. 

The update comes as the U.S. media and entertainment industry continues to be rocked by layoffs, with the shutdown of CBS News Radio and rounds of cuts most recently at Netflix, Starz, Axios, CNBC, Spotify’s The Ringer, the talent agency WME and “Fornite” creator Epic Games.

The pending $110 billion merger of Paramount Skydance and Warner Bros. Discovery, which is expected to close by the third quarter, has also put Hollywood on edge about more potential job losses due to media consolidation. Paramount executives expect to generate over $6 billion in synergies from the deal, with the majority to come from non-labor sources such as merging streaming tech stacks and consolidating the combined real estate portfolio.

DirecTV and a group of state attorneys general have also sounded the alarm about the recently approved $6.2 billion merger between local TV station owners Nexstar and Tegna, warning it would “irreparably drive up consumer costs, reduce local competition, shutter local newsrooms and increase both frequency and duration of blackouts of key local teams and network programming.” Nexstar and Tegna expect to generate approximately $300 million in synergies from the deal.

A judge has put that deal on pause with a temporary restraining order and is set to hear arguments on Tuesday.

The post Film and Sound Recording Industries Shed 1,100 Jobs in March appeared first on TheWrap.

The survey, titled “Lights, Camera, AI,” finds that respondents expect to spend 29% more time on AI platforms in the next two to three years, compared with 7% less time on broadcast TV, 4% less time on cable networks/news, 3% less time streaming and 9% less time on social platforms. Meanwhile, newspapers, podcasts and reading/publishing showed resilience, with time spent in those categories expected to grow 1%, 2% and 4%, respectively.

Around 64% of respondents believe that humans will collaborate with AI to create premium content, including box office hits. Only 17% believe the box office will be dominated by 100% human-created films—fewer than those expecting fully AI-created movies (19%).

About 51% of respondents said they were neutral (38%) or excited (13%) to see a film — and willing to pay the same (38%) or more (11%) — when told the script, acting and music was all AI-generated. Of those expressing enthusiasm and willingness to pay, Millennials reported the strongest support, but all demographics expressed some level of interest.

When it comes to interest in content fully created by AI, acceptance was far higher for the short-form side than long-form side.

Roughly 60% said they accept AI-generated TV commercials, compared with 55% who accept a banner ad, 53% who accept a short mobile game and 50% who accept a social video. By comparison, just 34% said they accept a console or PC game created by AI, while 29% said they accept a popular song, 25% said they accept a 30-minute TV show and 23% said they accept a full-length film. Millennials reported the highest interest across the board, while Baby Boomers and Gen Z were aligned in their hesitance toward AI.

When looking at trust versus distrust in AI journalists, Gen Z showed the lowest trust (19%), while Baby Boomers, Gen X and Millennials were fairly evenly split.

As for distinguishing between AI-generated and non-AI content, 51% of consumers said they could, compared with nearly one-quarter (24%) who said they are not confident. Gen X and Baby Boomers reported significantly lower confidence than their younger counterparts.

While consumers may not be ready to fully embrace long-form AI content just yet, they do have an interest in using the technology as a tool to filter, curate and personalize content.

Around 76% of respondents said they want AI to filter and select content and information for them, including 68% of the usually-resistant Gen Z and Baby Boomers. About 40% of respondents said they are overwhelmed by media offerings and find it difficult to keep track of content and subscriptions.

More than two-thirds of respondents also want an active role in storytelling, shaping plot, characters and outcomes across future books, films and other formats. About 88% of consumers surveyed expressed interest in adaptive content enabled by AI. Forty-three percent preferred a freemium experience for that content, compared with 24% willing to pay a one-time purchase fee, 13% willing to pay a monthly subscription and 6% willing to pay per episode.

The post Consumers’ Time Spent With AI Platforms, Content to Increase 29% by 2029, Survey Finds appeared first on TheWrap.

The events organizer cited media content budgets and market consolidation as the primary reasons for shutting down the events programs. Brunico will shift its focus to its publications, including Realscreen, Kidscreen, Playback and Strategy.

The company also noted that it will continue the Banff World Media Festival, which will take place June 14 to 17. The Realscreen team will continue operations, covering the daily news and its awards coverage.

Additionally, Reelscreen’s former publisher and executive director of NATPE Claire Macdonald will depart Brunico after 13 years. Kidscreen publisher Jocelyn Christie will also exit the company.

“I have worked with some of the brightest minds in the business and I’ve witnessed great resilience and creativity over the years as the industry weathers change,” Macdonald said. “I wish nothing but the best for my colleagues and the industry as a whole as it transforms.”

Brunico called the U.S. events shut down a “difficulty, but necessary devision.”

“This decision was deeply considered and stemmed from the market consolidation that continues to progress and have structural impacts on the content production business,” Brunico Communications president and CEO Russell Goldstein said in a statement.

Brunico acquired NATPE — the National Association of Television Programming Executives — in 2023 after the organization declared bankruptcy post-pandemic. The communications company purchased NATPE Global, NATPE Budapest, NATPE Streaming+ and the Brandon Tartikoff Legacy Awards.

Before picking up the operating rights to the Banff World Media Festival in 2016, Brunico ran the Realscreen Summit and Kidscreen Summit conferences in the U.S.

While the company’s Kidscreen Awards and Realscreen Awards will also continue, the Realscreen and Kidscreen Summits will not. The summits were paired events with Brunico’s still existing trade publications.

The post NATPE, Realscreen Summit to Shutter, Citing Market Consolidation appeared first on TheWrap.