Amanda Eriksen on Building Trust in Clinical Research

Every promo is a negotiation with the audience — how much do I give you, how much do I hold back, because the real reveal has to wait for the episode. 708 was another one of those. You cut something because it's the thing that gets someone to press play, but you can't give away the whole moment, that's the whole job honestly. Not really a misdirect, more like a hint of one — you're trying to give people juicy stuff without handing them the episode. And there's another layer to it: you're promoting for two audiences at once, people who've been with the season and know exactly what just happened, and people who are new and have no idea what any of it means yet. Half the time you're teasing the aftermath of something that already aired and the setup for something nobody's seen. You have to trust both of them to meet you somewhere in the middle. That's the tightrope every week on The Oval. 708 airs Wednesday. Curious for other editors and promo people — where's your line? How much do you give away before it stops being a tease and starts being a spoiler? #PromoEditing #TheOval #TelevisionEditing

Every organization has a plan. Not every organization is ready. Welcome to STRIVE – where we make sense of what it means to be cyber-ready, one conversation at a time. Watch the official trailer and subscribe so you don't miss future episodes: https://bit.ly/4wMC4CU #Readiverse #CyberResilience

Why are new episodes released once a week instead of every day? In theory, producers could shoot more, show more ads, and make more money. But people quickly get tired even of good stories. Anticipation is an important part of any show — and probably of any relationship too. A pause keeps the interest alive and helps people stay engaged with something that may last for months or even years.

Ten episodes. Ten custom endings. For Dexter: Resurrection S1, we teamed up with Zelig Sound to create a unique Main on End sequence for every episode. Rather than treating the credits as something separate from the story, each piece was designed as an extension of the episode itself. We built every sequence around the motifs, locations, and emotional undercurrents unique to that chapter, weaving together visual clues that reflected what had just unfolded while quietly hinting at what was still to come. From subtle nods to individual characters and locations to abstract macro imagery and iconic New York textures, every ending was crafted to reward a closer look. A huge thank you to Zelig Sound for creating a sonic language that evolved alongside the visuals, helping each Main on End land with the same intention and emotional weight. Full project + credits at rocketlab.tv

Ten episodes. Ten custom endings. For Dexter: Resurrection S1, we teamed up with Zelig Sound to create a unique Main on End sequence for every episode. Rather than treating the credits as something separate from the story, each piece was designed as an extension of the episode itself. We built every sequence around the motifs, locations, and emotional undercurrents unique to that chapter, weaving together visual clues that reflected what had just unfolded while quietly hinting at what was still to come. From subtle nods to individual characters and locations to abstract macro imagery and iconic New York textures, every ending was crafted to reward a closer look. A huge thank you to Zelig Sound for creating a sonic language that evolved alongside the visuals, helping each Main on End land with the same intention and emotional weight. Full project + credits at rocketlab.tv

Batching episodes is one of those things that gets recommended constantly. Record a few episodes in one sitting, build up a buffer, stop feeling like you're always one week behind. It sounds great. And for some creators, it genuinely is. One big session every few weeks, a cushion built in, nothing due until you're ready. I get the appeal. But I've also talked to plenty of consistent creators who tried batching and hated it. By the second episode, they were drained, the energy wasn't there, and the whole session felt like a grind. For them, one episode a week when they're fresh is the system that actually holds. The "right" approach is the one you can keep doing. That's it. So I'm curious: do you batch, or record one at a time? And if you've tried both, what made you stick with one over the other?

New episode drops tomorrow. Topic: "The schedule nobody reads." Michael Bograd, PSP (EVP) and Michael Maynard (VP), talking about the gap between the schedule you submit and the one your team actually runs. here tomorrow.

Netflix is funding a One Piece remake from episode one. A rare deal where everyone comes out ahead. Start with what Toei and Oda want: More people discovering One Piece. The old episodes are the obstacle. They look dated and feel hard to enter. The series runs past 1167 episodes now. A newcomer has to swallow that entire backlog. Nobody starts a show with that wall in front of them. The WIT Studio remake fixes exactly that. Fresh visuals. Modern pacing. A clean entry point. Suddenly the door opens for new viewers. Loyal fans get pulled back in too. They'll come to Netflix just to relive old arcs. Same story, rebuilt with new art and rhythm. A second payday from content they already own. Toei profits. WIT gets the showcase. Netflix gets subscribers. Veterans return. Newcomers finally have a way in. Remaking the foundation beats stretching the ending. I expect a wave of other IPs to copy this. The back catalog is sitting there unused. One Piece just showed everyone how to monetize it. #KhoaTrinh

HBO’s dominance is unmatched but Apple is making a sneaky attempt at being neck in neck with them… Check out this clip from this week’s YMD’s 500th episode w/ Ross Bolen. Link to listen to full episode: https://lnkd.in/e3VjsFNv

543: You can stack unlimited tooltips on a bar chart. That's exactly the problem. Keep them tied to the number on screen, or you bury the context you meant to add. Full episode: https://lnkd.in/gJ8jyibU