James Bond Producer Posts 40% Revenue Boost; Eurovision Director; Edinburgh Assembles Working Class Impact Unit; ‘Strictly’ Execs Indie – Global Briefs

James Bond Producer Posts 40% Revenue Boost

EON Productions, the storied British production company behind James Bond, saw revenues rise in another year without a 007 movie release. The company’s sales for 2023 stood at £22.2M ($29M), a 40% increase on £15.8M the previous year, thanks to merchandising and other income. It was still a long way from the revenues of £235M EON recorded in 2021 when the company released No Time to DieDaniel Craig’s final turn as the British Secret Service agent. EON’s pre-tax profits fell 75% to £224,985 last year, according to the earnings published on UK Companies House. The filing said EON directors, including Barbara Broccoli, are “concentrating on the development” of their next film, though the next Bond instalment remains shrouded in mystery.

Eurovision Director Appointed By EBU

The European Broadcasting Union (EBU) has appointed the former exec of the London 2012 Olympic ceremonies as director of the Eurovision Song Contest. Martin Green takes on the newly-created role. having helmed several big events down the years. Eurovision is always directed by someone from the host broadcaster in the country it is held but Green is the first person to do so for its overseer, the EBU. He oversaw the contest when it took place in the UK last year and has worked across the Olympic ceremonies and Commonwealth Games in the past. “Martin’s experience, strategic thinking and creative energy will be invaluable to the song contest as we get set for the 2025 event and evolve into the future,” said Jean Philip De Tender, the EBU’s Director of Media and Deputy Director-General. “The creation of this senior role and Martin’s appointment reflect how we’re building on the history and the strengths of a unique platform that celebrates the power of music to bring people together.” This year’s contest will take place in Basel, Switzerland on May 13 to 15.

Edinburgh TV Festival Assembles Impact Unit To Help Overcome Class Inequality

The Edinburgh TV Festival has named the industry figures who will comprise its Impact Unit, the class and social equality working group formed after James Graham’s MacTaggart. The festival’s charitable foundation has unveiled the likes of Banijay UK boss Patrick Holland, BBC Studios new entertainment exec Karl Warner and Jackie Myburgh, the head of production for Apple TV+ in the UK and Europe, on the group. In total there are 24 names from the world of UK TV. The group was set up in response to Sherwood scribe Graham’s MacTaggart, during which he questioned poor working class representation in the TV sector. Its job is to “coordinate and strengthen its approach to class and social equality and to lead the way in shaping how to make it an industry open to all,” according to the foundation. Observers from The Sutton Trust and the British Screen Forum will also be joining the main working group. The Impact Unit will be led by Gemma Bradshaw, Impact Director, in an expansion of her remit since joining the TV Foundation last year from One World Media. “The overwhelming response to the announcement of the working group showed how James Graham’s MacTaggart touched people,” she said.

‘Strictly Come Dancing’ Execs Launch Indie

A group of former Strictly Come Dancing execs have formed a new production company. Reel Scenes Media has been launched by Jonathan Hancock, who was senior editor producer on the BBC stalwart. He is joined by Georgia North-Coombes and Amy Mcilveen, both of whom have worked on the show that is one of the BBC’s biggest but has been hit by scandal over the past few months. Reel Scenes Media will “bring together a blend of diverse voices, emerging talent, and experienced producers to create unscripted content that resonates with audiences globally,” it said. Based in Brixton, London, the indie will collaborate with Young Creators UK, the UK’s first youth-run, impact-led creative agency. Hancock said: “The demand for unscripted content that pushes boundaries is booming across all platforms. We know that there is a strong opportunity in today’s market for broadcasters to leverage more opportunities in the digital space, reach those under-served audiences and forge even more programming collaborations with brands. It’s a great time to be at the forefront of this movement.”