Shabnam Rezaei

(1)2026 #MENAcontent will witness a big bang in the production and consumptions of #MicroDrama series through all sorts of apps present or yet to be launched and, primarily original Arabic short series. #BeaconMedia has pioneered in investing in this new form of attention grabbing content already taking the world by storm, and #DKLStudio was one of the first production companies to test the distinct methods of unlearning the old established ways and adapting to the neo workflow requirements of writing and production with these first two series: The #Scream, a  Saudi series, and #10%Truth an Egyptian one. Both are ready to be deployed. This is the trailer of the Saudi Series الصرخة# :

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“Does AI Need You More Than You Need It? Five Questions to Find Out.” I am looking forward to this conversation at the upcoming European Film Market. Artificial intelligence promises efficiency and productivity, but what does that really mean for film professionals? In this interactive talk, I will walk through five questions to test where AI genuinely adds value, where it still falls short, and why human judgement remains essential when working with machines. 📍 European Film Market, Producers Hub at Gropius Bau (Access: Market Badge) 🗓 14 February 2026, 10am Many thanks to European Film Market – EFM and EAVE European Audiovisual Entrepreneurs for the invitation and trust. More info at this link: https://lnkd.in/dyfdXReJ #EFM2026 #Berlinale #EAVE #exchangeevolveempower

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When AI starts making up the news AI-generated news sites have fabricated a completely false love life for my colleague Celina Euchner – claiming she was the partner of a famous rapper. For her, the consequences were devastating. This story shows in detail why AI-generated news sites are becoming a serious problem 👇

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"The broadcast industry is going to be transformed by AI. It's a great experimental phase where everything—from creative ideas to advertisements—can now be generated through AI." "AI is set to revolutionize the broadcast industry. From creative concepts to full-scale ad production — everything is now possible through artificial intelligence." https://lnkd.in/e-xNgD_S @VEOAIFactory Welcome to VEO AI Factory #VEOAIFactory #ViralInSeconds #DEUTV Welcome to VEO AI Factory #VEOAIFactory #ViralInSeconds #DEUTV #AIBroadcast #AIInMedia #BroadcastRevolution #FutureOfTV #AIContentCreation #DesiTech #TechWithFaizanQasmi #AIInPakistan #DigitalPakistan #AIChangingMedia #SmartBroadcasting #AIMadeThis #PakistanMediaInnovation #TechRevolution #AIForCreators

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Turkish Drama in Focus at the World Content Market — Moscow! Next week, eight Turkish companies will offer fresh content to Russian and CIS buyers at the World Content Market — Moscow. ATLAS KÜRESEL MEDYA, ATV, GLOBAL AGENCY, INTER MEDYA, MEDIAHUB, MISTCO, OGM UNIVERSE, and TURKISH RADIO TELEVISION CORPORATION will present their latest drama series, formats, and other content to the region’s key content buyers. Turkish content is in the spotlight in Russia, airing on major TV channels and OTT platforms. On 26 November, "The Power of Turkish Drama" — a premium showcase of top Turkish series that have captivated audiences around the world — will give buyers a unique opportunity to discover new releases, assess trends, and select content for their 2026 broadcast schedules. Our next market:  World Content Market - Moscow 2025 Autumn (26-28 November 2025, Amber Plaza Hall) #worldcontentmarket #televisionmarket #digitalcontent h#content #b2b #televisiondistribution #TVindustry #TVbroadcasting #Television #Contentindustry #TVcontent #TVseries #Contentdistribution #Contentproduction

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Electronic Arts (EA) $55 billion buyout means a wealth of highly recognizable IP will transfer to Saudi Arabia's Public Investment Fund (PIF) and the two other firms that were involved, but questions arise on how these firms will capitalize on this. Despite being the largest entertainment industry in the world, the videogame market is undergoing a post-pandemic slump in spending, as consumers rein in spending in response to higher prices, forcing companies and executives to think of other ways to leverage successful IP. One way they have been doing this is through film and television. The success of The Last of Us television show, Arcane by League of Legends, the Minecraft and Super Mario Bros movies have opened up a new roads of making money by adapting gaming IP into other forms of media. But this strategy has not always worked out. For decades, videogame films were not taken seriously, owing to the disappointment of many early attempts such as 2005's "Doom" or 2009's "Street Fighter: The Legend of Chun-Li." For more on this, read my full story for Reuters below:

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A Deep Dive into the #Future_of_Media with Hendrik Hey At the occasion of European Film Market – EFM Hendrik Hey, Founder of MILC Metaverse (Media Industry Licensing Content) Platform & Welt der Wunder Sendebetrieb GmbH TV, at the European Film Market to discuss the evolution of the industry. As a pioneer moving from traditional broadcasting to the #Web3_frontier, Hendrik shares how he’s building a revolutionary ecosystem for global content. Key Highlights: -#The Shift: Transitioning from Welt der Wunder’s TV legacy to a blockchain-driven future. _ #MILC_Platform: Creating a user-centric marketplace to solve Web2’s licensing & transparency issues. -#Collaboration: How a consortium of 20+ partners is building a new standard for the creator economy. Stay tuned for Part 2, where we dive into tech investments in the film industry! #Web3 #Metaverse #MILCPlatform #HendrikHey #MediaInnovation #EFM2026 #Blockchain Stay tuned for #Par_ 2, where we dive into the investment side of the Tech4Movies industry! #Web3 #Metaverse #MILCPlatform #HendrikHey #MediaInnovation #Blockchain #DigitalTransformation #WeltDerWunder #EFM2026 #CreatorEconomy Patrice Poujol Jean-Baptiste Babin Guillaume Esmiol Anita Gupta Ryo Nakatsuji Pavan Agarwal Preeti Agarwal Ilena Agarwal Sébastien Clément Philippe Reynaert Lola Gott Jerome Chouraqui Joyce Chow Michael Terpin Sébastien Clément Hendrik Hey Dr. jacques Durand Houda LAZAAR yusuf shaikh Katrina King Melissa Jun Rowley Fiona Gillies Christine Hartland Sarah Lelouch Samantha Maya Panchevre, SPEC Rebecca S. Walt Jones Kevin Morris Christophe GROSBOST Michel Bricteux Fatima-Azzahra Driouach Hicham BENNIS Alexis Martinot Rich Welsh Yuri G. Rabinovich

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We’re excited to announce that channels from RT are now available on NeoTV+, bringing viewers access to international news, documentaries, and global perspectives from around the world. Founded in 2005, RT has grown into a global news network broadcasting 24/7 across multiple languages and reaching audiences in more than 100 countries. With this addition, NeoTV+ users can now explore more international content and stay updated on major global developments. Available now on NeoTV+ across: Android TV | Mobile | Fire TV | Cloud TV | Web At NeoTV+, our mission is to bring diverse global content to audiences everywhere. Adding RT channels is another step toward expanding our international news lineup and offering viewers more choices. Content partners and FAST channel providers: If you want to reach audiences across India and in 120+ countries, partner with NeoTV+ and grow with one of the fastest-expanding OTT FAST platforms. #NeoTVPlus #RT #RussiaToday #FASTChannels #StreamingTV #ConnectedTV #OTT #GlobalNews #CTV

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The United Arab Emirates is quietly building proper infrastructure for music rights - and that’s a big deal for creators. Following the landmark agreement between SACEM and the Emirates Music Rights Association (EMRA), we’re now seeing something the region has historically lacked: structured, transparent, regulated royalty collection for authors, composers and publishers. For years, creators in parts of the MENA region have faced inconsistent royalty systems, fragmented licensing, and limited enforcement. That changes when you introduce a licensed, government-recognised CMO aligned with international standards. Why this matters: • Royalties from live, broadcast and public performance can now be collected locally and properly distributed • International publishers have a clear route into the market • Businesses using music get compliance clarity • Creators finally have infrastructure designed to support them And zooming out - this fits into a much bigger picture. The UAE has been positioning itself as a global creative and IP hub. You can’t do that without protecting rights and ensuring fair remuneration. This move signals maturity. It tells the world the region is serious about long-term creative growth. MENA has already been one of the fastest-growing recorded music markets globally. Add proper rights management into that mix and you unlock even more value - for local creators and global partners alike. Infrastructure drives ecosystems.

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Music rights, and the maturing of an alternative asset class 05.10.2025 - Investoren Plattform Weekend News: Private Equity Between 2014 and 2023, recorded music industry revenues more than doubled, from approximately $13bn $28bn, marking nine consecutive years of growth according to the International Federation of the Phonographic Industry’s Global Music Report 2023. To a report by private equity wire. 03.101.2025

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From noise to composition, how can we orchestrate the #AI shift in music? AI in music is no longer just a theoretical debate, it’s happening. Now. And the way we choose to shape it matters more than ever. This diagram that we use at Music Tech Europe to discuss the impact of AI on music in various contexts reminds us just how multi-dimensional this relationship truly is: #Education (Learning tools & accessibility) #Creation (Generative AI & copyright) #Discovery (Algorithms & diversity) #Experience (Immersive engagement & sustainability) #Productivity (Workflows & adoption) #Intelligence (Data transparency & governance...and perhaps a chance to give real substance to the long-awaited #EUMusicObservatory?) This conversation is gaining critical momentum across Europe: In France, two landmark reports — led by Alexandra Bensamoun and Joëlle Farchy for the Conseil supérieur de la propriété littéraire et artistique (CSPLA) have just been released. They explore legal and economic frameworks to ensure AI use in culture is fair, transparent, and aligned with European values. A few days ago at the European Parliament, Björn Ulvaeus met with Roberta Metsola and stood alongside European creators, including GESAC & CISAC and representatives from authors’ societies, to advocate for transparency, consent, and fair remuneration in the AI market. Read more: https://lnkd.in/e67Q9qgr Soon after, the FELIN - Fédération Nationale des Labels et Distributeurs Indépendants rallied over 40 independent organisations calling out the dangers of AI for creators and urging public authorities to act. Read more (in French): https://lnkd.in/exuTb6kQ The upcoming study from the IMEMS project will soon provide further insights into how AI is already reshaping the Live Music and Export sector, another frontier where innovation and cultural integrity must meet. Visit: https://imems.eu/ Let’s also remember: music has always been at the forefront of cultural and technological revolutions. It’s a laboratory for new uses, from creation to live, fan engagement, and the evolution of audiences. These shifts raise questions that must be addressed collectively, not in silos. We need more than ever dialogue and experimentation towards some shared vision and actionable standards rooted in ethics, sustainability, and creativity. What are the most urgent questions? The most promising pathways? 👇 Add your voice to the conversation #MusicAI #Music #MusicTech #MusicBiz #CCI #CreativeIndustry

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Notes from Wepod meetup in Paris in case you missed it: 1. ) WePod Project | European podcasting is the first collaboration of its kind in podcasting with newstooms from across Europe producing a series of shows in multiple languages. The consortium created a marketplace to sell IP across languages and a talent linkedin style platform for producers- Ana Ribera García-Rubio from Prisa Audio. 2) Audio and video is going to be complementary. We must remember that half of content on video platforms is audio only. According to recent studies on listenership: priority to audio is given in the Morning, then to video in the evening. - Cedric Begoc from Acast France. 3.) Same as at Podcast show : AI translation is here to stay but doing it well means local adaptation and cultural sensitivity especially for journalists working on narrative productions. Wepod demonstrated this with cross newsroom collaborations all over Europe. AI makes this process faster, French studio Louie Media just adapted a series with AI into 10 languages ! 4). Studios and media platforms alike must pay attention to creator first community content. Offline Community building around shows may be what saves so many non fiction productions from losing to video.- Jasmin Bauomy from ECCO. TLDR: : More international collaborations in the documentary space are made possible by European commission funds and public funds , and AI isn't the primary tool helping to scale these productions: human communities are. What do you think of these initiatives/ trends? #AI #internationalstories #translation #podcasting #adaptation #localization #storytelling #internationalozation via Studio Ochenta

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💡 Today’s Digital News Report 2025 by the Reuters Institute for the Study of Journalism at Oxford University is a timely reminder that while the news landscape is shifting fast, audio remains both a standout performer for audiences and a major commercial opportunity that continues to cut through the noise! Across Europe, audio with strong talent and on-demand capability continues to gain, as audiences are increasingly turning away from traditional TV and print news. Three big audio take aways from this year’s report: 🔊 Radio endures as a mass-reach, trusted medium, with strong and persistent listening habits and high brand recall and trust. Amidst continued digital media consumption, radio still plays a significant role. Our focus on high-quality content keeps listeners coming back and we’re proud of the work our teams do day in day out across Europe from Rádio Comercial to Grupa RMF. 🎧 Podcasts are thriving with younger audiences, especially in the UK and Nordics. Weekly news podcast consumption is now at or above 10% in several Northern European markets. What’s driving it? Authentic voices, smart storytelling, and convenience. This is great news for Bauer Media Group Audio‘s fast-growing podcast portfolio across Europe. 📱 The shift to platforms is real, but so is audience fragmentation. As audiences spread across YouTube, TikTok, and social video, audio offers something else beyond free hands: clarity and human connection. Audio is on in the background, in the earbuds, in the car. It’s contextual, it’s brand-safe, and as an ever-mounting body of evidence demonstrates, it’s a commercially smart and effective choice, both standalone and as an amplifier to digital campaigns. In a landscape where attention is the hardest currency, audio continues to deliver. It’s trusted, targeted, and increasingly personal. We’re proud to be investing in talent, technology, and new formats that meet listeners where they are and take advertisers where they want to be. Thank you to all our teams who make that possible on a daily basis. The future sounds good.

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I met Loretta TIOIELA 🇺🇦, Founder & Managing Partner at Next Sequence®, shortly after her fireside chat with Groq President Mohsen Moazami at World Summit AI USA in San Francisco. We had a great conversation about her vision for the future of AI infrastructure, and I was lucky to film a follow-up interview with her on Day 2. Loretta sees DNA storage as a major leap forward in the future of computing. As AI scales, energy gets most of the attention, but storage is becoming a critical bottleneck. DNA storage offers a compact, energy-efficient way to store massive amounts of data, especially valuable in extreme or resource-limited environments like space. That connects to another area she’s watching closely. AI’s exploding demand for processing power and energy is pressing up against Earth-based limitations. Solar-powered data centers in space, could be a practical and increasingly viable solution, driven in part by falling launch costs from companies like SpaceX. In those same low-gravity environments, biomanufacturing is already taking shape, especially with organoids, which form more naturally in space and are unlocking new possibilities for drug discovery and disease research. As the race to lead in AI accelerates, breakthroughs like DNA storage, data centers in space, and biotech research in orbit are opening new ways to solve real-world problems here on Earth. Thanks again to Sarah Porter and the InspiredMinds! team for bringing such a sharp, diverse group of voices and minds together under one roof in San Francisco. #LorettaTioiela #WorldSummitAI #NextSequence #FiresideChat #AI #Inference #Groq #DNAStorage #GPU #FileStorage #AIInfrastructure #DataCenters #Solar #Energy #SpaceResearch #Satellites #CubeSats #SpaceX #SpaceTech #AIandSpace #InspiredMinds #TechSovereignty #Blockchain #Crypto #Tokeniztion #RWA #SpaceEconomy #Space #PayLoads #Biomanufacturing #Organoids #Complex3Dstructures #Tardigrades #WaterBears #Science #VectorSpaceBiosciences

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Where’s Markiplier at EFM? The European Film Market is in full swing in Berlin right now. Panels on “innovative business models.” Masterclasses on “audience engagement.” A whole conference track called “Bridging the World of Gaming and Filmmaking.” And yet the biggest disruption to hit theatrical distribution in years? Not a single keynote. Let’s be clear about something: this isn’t another influencer-gets-a-cameo story. This isn’t a creator being handed a vanity role in someone else’s project so a studio can slap their name on the poster and harvest their followers. Markiplier wrote it. Directed it. Starred in it. Edited it. Financed it with his own money. And then — the part that should terrify every traditional distributor at EFM — he self-distributed it. Globally. No sales agent. No distributor. No studio. No P&A spend worth mentioning. He started with 60 independent theaters. Fans campaigned to bring it to their local cinemas. AMC called. Cinemark called. Regal called. Opening day: 4,161 theaters. Internationally. The result? $47 million worldwide against a $3 million budget. Nearly toppled Disney for the #1 spot on opening weekend. The most profitable film of 2026 so far. Oh — and the release generated 37,000 blood donations through a theater partnership. Try getting that ROI from a traditional marketing campaign. This is a creator who built an audience of 73 million across platforms, understood exactly what they wanted, and delivered it directly to them — cutting out every middleman the traditional film industry has spent decades building. The film industry keeps hosting conferences about “the future of distribution” and “creator-driven content” while the future is literally happening in real-time and they’re not paying attention. If you’re at Berlinale this week and this isn’t the #1 topic in every meeting you take, you’re already behind. The gatekeepers didn’t open the gate. The audience kicked it down. #Berlinale #EFM2026 #EuropeanFilmMarket #Markiplier #IronLung #IndieFilm #FilmDistribution #CreatorEconomy #IndependentFilm #FilmIndustry #DisruptionInFilm #SelfDistribution #ContentCreators #FutureOfFilm #BoxOffice #FilmMarketing #HollywoodDisruption #CreatorToScreen #FilmBusiness #GameToFilm

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“Ultimately, one of the reasons TV has been so successful is the curation of high-quality, engaging content. In the streaming age, the battle to curate the best and most relevant content will be key.” Head of Broadcast Gregor Chalmers features in ExchangeWire’s latest article, exploring how curation can reduce ad wastage and drive smarter CTV investment. Catch up on the full article via the link in the comments below 👇 https://lnkd.in/exPxGAU3 #CTV #Programmatic #StaySmart

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🎬 Turkish cinema now: Between tradition and digital transformation In 2025, Turkish cinema stands at a crossroads — balancing the magic of theatrical experiences with the rapid rise of digital platforms. On one side, local audiences still support domestic productions, especially comedies and animated films. On the other, streaming is reshaping viewing habits, presenting both challenges and opportunities. 📊 What do Turkish audiences watch? According to Box Office Türkiye, 438 new films were released in 2024, attracting over 32 million viewers. Half of the year’s top 10 box office hits were Turkish productions. Leading the pack was the animated film “Rafadan Tayfa 4: Hayrimatör”, with 2.8 million viewers and over 300 million lira in revenue. The list also featured crowd-pleasing comedies like “Kolpaçino 4 4'lük” and emotional dramas such as “Lohusa.” 🎯 Challenges in theatrical distribution Despite strong individual performances, the industry hasn't fully bounced back from pre-pandemic levels — in 2019, cinema attendance reached 57 million. Since 2022, the numbers have been declining. Key issues include: Audience migration to digital platforms Limited support for independent releases Rising ticket prices and inflation 📱 The streaming effect With platforms like Netflix, BluTV, and Amazon Prime growing rapidly, audiences are increasingly choosing the convenience of home viewing. For theatrical releases, the first two weeks are now make-or-break for box office success. 💡 Paths forward Hybrid release strategies Strong, locally-rooted storytelling Visually striking films that showcase cultural identity Effective social media and digital marketing campaigns 🌍 Global perspective Turkey is already the third-largest exporter of TV series worldwide. But in cinema, there’s still untapped potential — especially with the country’s rich visual landscapes, gastronomy, mythology, and emerging talent pool. Stay tuned for new projects from Kunay Film. We are working on bold, modern stories that bring the richness of Turkish culture and local color to the world stage. #TurkishCinema #TurkishBoxOffice #FilmExportTurkey #KunayFilm #KunayDistribution

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