I’ve been banging this drum since the ‘90s: the future of media doesn’t belong to the gatekeepers. It belongs to the makers.
Now Fox—yes, that Fox—is finally catching on.
As Variety reports, they’re snapping up digital-first creators faster than the majors can say “what’s a Discord server?” But let’s be clear: this isn’t about Gen Z gimmicks or chasing clout. This is a survival strategy. Fox has no more scripted content to fall back on, no glossy drama slates or sitcom syndication. So what do they do? They bet the farm on personality-led content.
And guess what? That is the content now.
This move isn’t just smart—it’s existential. These creators don’t wait for permission. They build audiences one livestream, one podcast, one shitpost at a time. They’re raw, real, and deeply trusted. And that’s something the Murdoch empire has struggled with for years—trust.
Fox isn’t trying to shove these creators into the old broadcast mould. Instead, they’re building bridges—keeping TikTok TikTok, YouTube YouTube, but plugging in traditional distribution, ad sales, and legal armour. Infrastructure meets influence.
Sound familiar?
It’s the indie film hustle, but on steroids. At Raindance, we’ve always said: the best creators don’t come from film school—they come from life. They’re the ones making weird, wild, wonderful stuff on no money and lots of nerve. The ones who build communities, not just content.
That’s what Fox has finally recognised. But let’s not romanticise it. Wrangling creators is messy. The same edge that makes them magnetic can make them a PR risk. And building monetisation across platforms that barely talk to each other? That’s a nightmare.
But if they get it right—if they don’t screw it up with over-branding or corporate tone-deafness—this could be their most meaningful pivot since the Simpsons era.
The bigger question is: who’s next?
Are British broadcasters watching? Is the CTV in Canada paying attention? Or are they still commissioning panel shows and hoping for the best?
The creator economy isn’t coming—it’s already won. And the networks that survive won’t be the ones with the biggest tower, but the ones who know how to build with creators, not on top of them.
What is this thing called Raindance?
Raindance is a safe space for filmmakers and other storytellers to explore, develop, and showcase their creativity.
Let Raindance help you craft and market your stories. We’ve been doing exactly that since 1992.
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Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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