The financial instability of creative professions has long been a subject of debate behind the scenes of the global entertainment industry. Now, the charity Actors’ Trust has published an extensive report based on a survey of 3,700 UK professionals, exposing the true scale of the crisis.
European public broadcasting is mired in a financial crisis. According to a report by NPA Conseil, over the past decade, the share of funding for state-owned channels relative to the GDP of 45 countries has shrunk by nearly a quarter.
In celebration of its 20th anniversary, the “Dom Kino” television channel conducted a study on viewer preferences.
In mid-April 2026, the global box office has transformed into a battleground for two giants: the Mario sequel and the space drama “Project Hail Mary.”
The internet disruptions experienced this April could cost Russian employers a staggering sum—up to 500 billion rubles.
Paramount Pictures’ long-delayed animated feature, “Aang: The Last Airbender,” has surfaced in the public domain.
The global SVOD market is entering a phase of rigorous discipline. According to data from Futuresource Consulting, the number of global subscriptions has already reached 2.2 billion and is projected to grow to 2.6 billion by 2030.
The Russian entertainment market is concluding its phase of explosive recovery. According to data from Strategy Partners, following a 30% annual surge between 2022 and 2024, the industry is transitioning toward balanced growth. By 2027, market dynamics are expected to stabilize at a steady rate of 10%.
Epic Media, one of Russia’s leading producers of scripted television content, has expanded its presence on the Mediabaza industry platform. The studio has released 40 titles for distribution, including multi-series films and full-length features.
Just as the entertainment industry’s biggest players have finally turned streaming into a profitable enterprise, a new threat has emerged.
