This media company blurs the lines of digital and traditional media. For what was a relatively small and unassuming company trying to make a name for itself as a news agency, Barcroft Studios has had staggering success across both digital and traditional media. Founded by Sam Barcroft in 2003, it’s now owned by Future plc, the media giant. This is a 21st century media company creating 21st century content.

Whilst homosexual filmmakers can relish in the growing success of gay male narratives on screen, lesbian characters, on the contrary, are much less likely to avail of the spotlight. However, despite poor portrayals resulting in lesbian invisibility on mainstream screen, organisations such as LesFlicks are dedicated to furthering positive change in lesbian filmmaking. 

Nebula is a new video subscription platform created by YouTubers for YouTubers. Nebula’s aim is to give creators a space to experiment with videos that might not work so well on YouTube, and it allows creators’ fans to access content exclusive of YouTube.

Through her production company, Sister, Elisabeth Murdoch, daughter of media mogul Rupert Murdoch, has funded the Ghetto Film School to encourage young people from diverse backgrounds to enter the film industry.

One aspect missing from the viewer experience over the past year has been the common social pastime of cinema trips and binge watching box sets with friends and family. This has opened the metaphorical door for ‘watch party’ options, providing an opportunity to watch your favourite shows virtually alongside friends and family.

The Creator Union is the UK's first collective body to represent content creators and influencers who earn money from the likes of YouTube, TikTok and Instagram. With the influencer marketing industry estimated to be worth $5.5bn (£4.3bn), here’s why the union exists to help creators navigate this booming sector.

YouTube has more than 2 billion logged-in monthly users, with more than a billion hours of video watched daily. But if YouTube is so popular and vast, why in the ‘mainstream media’ is it still regarded as some trivial, amateurish fun?

The UK gaming industry has boomed since the start of the first lockdown last year. The UK’s digital and physical game market saw incredible increases in revenue with a 14.5% rise from 2019 to 2020, surpassing £4billion. Over 3 million gaming consoles were sold in the UK, and over half of 13 - 18 year olds now use video games to socialise with friends.

While there is no way of knowing which events from the rather unusual 2020 Formula 1 season will be included in Series 3 of Drive to Survive, the Netflix F1 hit, a few ‘sneaky’ pictures online and teasing scoops suggest that the content might once again be chosen to spark debates - and controversies.

In just over a year, Disney+ has amassed a total of $3.5 billion in revenue and 100 million subscribers - already surpassing its 2024 goal. In other words, it’s three years ahead of schedule. No surprise, then, that Disney has decided to invest in its streaming empire by adding TV network Star to its service.

While Netflix continues to dominate the binge-watch culture and Disney+ does the complete opposite by releasing WandaVision one episode per week, YouTube Originals has shifted its strategy to stress its own strengths – music, celebs and kids content. Here’s a run down of how it’s going.

Disney as a media company has been criticised for some time in terms of their lack of diversity and inclusivity in both their employment behind the scenes, and in the content that they publish. However, in recent years they have recognised diversity as one of their shortcomings and have committed to changing that for the better.

BritBox, the lovechild of the BBC and ITV, has captured audiences that the likes of Netflix and Amazon haven’t been able to, and it plans to roll out in 25 countries across Europe, Asia, the Middle East, South America and Africa. Can BritBox outfox its rivals?

Not to be confused with the overnight television service run by the BBC in the early ‘90s, BBC Select is a new North American streaming venture managed by the BBC’s commercial subsidiary, BBC Studios. So why does the BBC think North America needs another streaming service?

For many businesses, the COVID-19 pandemic was devastating, even resulting in bankruptcy for some. But one sector didn’t suffer the same fate: the gaming industry, which generated a larger revenue than the film industry last year. With so many big players in the gaming mix, who’s doing better than ever right now and who’s bitten off more than they can chew?

Over the past year, watching the news became a point of dread, while your newsfeed has filled with worrying statistics. Fortunately, there are many organisations that are one step ahead of the game when it comes to being a positive force for good.

We no longer live in the album era – we are very much settled in the playlist era. But to feature in playlists an artist and producer has to follow the rules created by streaming services.

Clubhouse, the audio-chat social networking app, now has 6 million users (up from just 150,000 in September of last year), 4 million of which it managed to gain in just over a month. Subsequently, its valuation has skyrocketed from about $100 million in May of 2020 to $1 billion where it now sits as a ‘unicorn’ start-up. So what’s all the fuss about?

On its release, the Netflix series, Bridgerton, became the number one ranked title globally and was watched by an astounding 82 million member households. So how exactly did Bridgerton do this well?

Disgraceful Magazine is a new not-for-profit magazine centred on showing women that it’s OK to break from society’s gender expectations, and that it’s OK to be a little more… well, disgraceful.