OTT & Transmedia

You have been warned!! Here comes the last episodes of Stranger Things. With no pressure to watch them all before the finale on 1st January!

This is, I think, going to be amazing! Are you a fan? Who’s your favourite character? What’s your favourite episode?

https://youtu.be/QlYrNC_1Xmk

I’m looking forward to the next Benoit Blanc outing. This looks like it falls deeply into the gothic genre(!) and feels like a fun romp. I do love Daniel Craig in this role. How about you?

What’s your favourite Knives Out movie? What do you think of the trailer?

https://youtu.be/sRqU2276eaQ

With The Last of Us Season 2 having just wrapped with last Sunday’s season finale, the conversation is heating up again, not just about how closely HBO stuck to the source material, but about how this series blurs the lines between adaptation and transmedia storytelling.

Unlike a traditional adaptation, this series doesn’t just retell the game, it expands it. Season 2 in particular added depth to key characters, introduced new points of view, and reshaped the pacing in ways that felt uniquely tailored for television. The result is a narrative that complements the game rather than simply echoing it.

In true transmedia fashion, the game and the show exist as parallel experiences. If you’ve played, you pick up on emotional and narrative layers the show builds upon. If you haven’t, the show still stands on its own. It’s a rare case where the two mediums feel like part of a unified, living world, not just a copy and its original.

As the story moves into even more divisive territory, the creative team is clearly making strategic choices. So here’s the question:

Where’s the line between adaptation and transmedia? Does The Last of Us qualify as a true transmedia project? And how would you approach expanding a story across platforms while maintaining emotional continuity?

Would love to hear what this community thinks. If you’re building a storyworld that spans games, shows, comics, or more, this is your space to unpack what’s working, what’s not, and how we keep innovating across mediums.

The Sandman season two has its Netflix release date.

I really enjoyed the first season and have been waiting for this for a long time.

How about you? Are you a fan of The Sandman? Who has been the best character so far?

https://variety.com/2025/tv/news/the-sandman-season-2-release-date-tease...

I have just finished watching this series on Netflix and I've been absolutely wowed by it.

The Eternaut is an Argentinian series filmed in Buenos Aires. The story is an adaptation of Hector German Oesterheld's 1957 graphic novel, 'El Eternauta' (The Eternal). It is an iconic story of oppression and resistance, set in the frame of a dystopian, science-fiction world.

I first heard of it a couple of years ago, when connecting on Stage32 with a composer (Antonio Zimmerman) who lives in Buenos Aires. We started talking about animated series and graphic novels.

Here's the trailer:

https://youtu.be/TqT4fDQQqCc

The visual effects are stunning. The story is set during summertime, but as four friends play a card game, 'Truco', snow begins to fall. The snow however, is toxic and anyone whose skin is touched by the snowflakes, dies.

Some critics have complained that it's a slow-burner, but I give no value to that criticism; it simply increases the tension of the story. What's a dystopian thriller without scenes of streets empty of life, with the bodies of the fallen hanging out of cars and the windows of their apartments?

The subscribers to Netflix loved this series so much, that a day after its release, Netflix commissioned the second and final series of 8 episodes.

It has great acting and production values, which shows the qualities of the filmmaking community in Argentina. I watched the final episode last night and the last scene was breath-taking.

I recommend this series to you. Please let me know what you think? Are you a fan of dystopian stories? Have you watched The Eternaut? What's your favourite dystopian films of the 50s and 60s?

Here's a behind the scenes look at the making of the series.

https://youtu.be/bATx3KX1D4U

Amazon’s Fallout series has been a massive win, not just for fans of the games but as a clear-cut success story for transmedia strategy. This new blog from MIDiA Research breaks down how Fallout is more than just a show, it’s a masterclass in expanding a preexisting IP into a new format without alienating the original fanbase.

But the article also raises a smart question: how do we evolve transmedia strategies beyond just extensions of gaming IP? Can we build experiences that originate from shows, books, or even podcasts with the same kind of cultural resonance?

Check out the article here:

https://www.midiaresearch.com/blog/amazons-fallout-is-another-success-st...

Then let’s talk:

What other examples of successful transmedia storytelling have inspired you? And if you’re building your own universe, how are you thinking beyond a single medium?

Hi there,

I came across this article in one of my Google Alerts (it's a great way of staying on top of what's happening in the industry) and it offers a great overview of the VOD industry with some interesting snapshots. If you are into 'churn rates', then this article is for you!

Here's one bullet point from the article:

Among young viewers aged 18 to 34, 66% prefer using free streaming apps with ads over paying for ones with no ads.

So, it appears that SVOD has a long way to go, in its appeal to younger viewers, no doubt based on affordability. That however, is just one snapshot from it.

What are your thoughts on the data?

https://www.coolest-gadgets.com/video-on-demand-statistics/

Starring Jack Black, Jason Momoa, and Danielle Brooks, A Minecraft Movie surprised everyone by raking in over $700 million within just a few weeks. Critics were skeptical, fans were divided, and yet, something about it worked.

This breakdown dives into why Minecraft succeeded where so many game-to-film adaptations fail, and no, it’s not just about brand recognition or big-name casting. The filmmakers tapped into a key emotional element of Minecraft’s DNA that most adaptations overlook, and it paid off in a major way.

Whether you’re developing your own transmedia project, adapting IP across mediums, or just passionate about how stories move across platforms, this video is packed with insights worth paying attention to.

Watch here: https://www.youtube.com/watch?v=YSdDu7cukyc

What do you think studios and creators should prioritize when adapting a beloved IP across media? Let’s open it up for discussion!

(https://theconversation.com/why-film-adaptations-of-popular-video-games-...)

Pop-up experiences tied to film, TV, and streaming content have become huge in recent years, and it feels like we’re only scratching the surface of what’s possible in this space.

From Stranger Things pop-up stores, to The Last of Us immersive haunted house, to fan events recreating sets, costumes, or food from beloved shows: these experiences have become a powerful tool for transmedia storytelling and audience engagement.

They create something every fan wants: the chance to step inside the world they love.

For indie creators, this raises such an exciting question: how can smaller-scale or indie projects use this same strategy? What does a pop-up experience look like for a short film, a web series, or a graphic novel? It doesn’t have to be expensive, it just has to be memorable and rooted in story.

Have you attended a pop-up or immersive event connected to a show, movie, or game that stuck with you? Are you working on a project where this kind of experience could deepen audience connection?

Let’s talk creative ideas and examples: I’d love to hear how you all see pop-up experiences evolving in transmedia storytelling.

There’s a quiet tragedy unfolding in a galaxy far, far away.

It’s not the recycled plotlines. It’s not even the divisive sequels. It's not the fans being "too nostalgic" or the actors being harassed online. It’s something more fundamental — something that once made Star Wars feel alive and now makes it feel... flat. The worldbuilding, once vibrant and mythic, has slowly eroded into a checklist of aesthetics and references. And this collapse is starting to cripple everything Star Wars touches, from Disney+ shows to comics, games, and toys.

Once Upon a Time in a Used Universe

Star Wars once had some of the best worldbuilding in pop culture. The "used future" of the original trilogy — sandblasted speeders, dented helmets, grimy cantinas — made the galaxy feel lived-in. It wasn’t just the visuals; it was the cultural depth. Jedi weren’t just space wizards — they were echoes of samurai, monks, and Arthurian knights. The Empire wasn’t just bad guys — they were a sci-fi reflection of fascism. Every background alien hinted at a wider galaxy. Every piece of tech told you something about who used it and why.

The world didn't explain itself because it didn’t need to. You felt it.

Compare that to today’s Star Wars, where entire planets exist just to be blue backdrops, and cultures exist for exactly one plot beat before they’re discarded. Characters jump from planet to planet like it's UberEats, but none of the places matter. Nothing feels rooted. It's cosplay worldbuilding — the kind that looks like Star Wars, but has no inner logic.

Lore Bloat Without Lore Depth

Star Wars has become obsessed with explaining things that don’t need explaining, while ignoring the things that do. Want to know how Han got his last name? Here's a scene for that. But want to understand how the New Republic collapsed so fast after winning the war? Or how the Force is understood in different cultures? Too bad.

Instead of building out the galaxy, recent entries collapse it inward. Everything is connected to the Skywalkers, the Death Star, or Tatooine. There’s a whole galaxy out there, but we’re stuck doing laps around the same ten plot points. The High Republic tried to go wide, but even that struggles under the weight of a franchise afraid to move beyond legacy.

It’s a galaxy that refuses to grow — or worse, one that pretends to, but always snaps back to its comfort zone.

Transmedia Is Suffering

Transmedia storytelling — comics, novels, games, shows — should be Star Wars' secret weapon. But it’s turning into an anchor.

Without a strong, evolving world, these spin-offs don’t feel essential — they feel like homework. A new show doesn’t expand the mythos; it patches plot holes. A new book doesn’t unveil a forgotten legend; it retrofits a character arc. The connective tissue has turned into duct tape.

Look at The Mandalorian. It started strong because it felt new — the Outer Rim, a lone bounty hunter, moral ambiguity. Then it became a cameo carousel for other shows. A backdoor pilot machine. Andor was a rare exception, but even that sits in a prequel box, trapped by canon. Meanwhile, the games (Jedi: Survivor, for instance) build stronger stakes than the films — but even they’re hamstrung by the need to tiptoe around the “big stuff.”

When transmedia feels like filler rather than foundation, you're no longer worldbuilding. You're brand-building.

The Heart of the Problem: Star Wars Is Afraid to Let Go

The biggest issue? Star Wars doesn’t trust its own galaxy anymore. It clings to the Skywalker saga like a security blanket, terrified of what happens when it steps outside. Every new thing has to tie back to something old. Every old thing must be repackaged and resold. That’s not storytelling — that’s taxidermy.

The irony is that Star Wars was once the boldest myth in pop culture. Now it’s cautious. Hesitant. Safe. And in a genre that thrives on imagination, safety is the kiss of death.

Worldbuilding isn't just maps and names. It’s the art of making a place feel real — so real, you want to live there. Star Wars used to do that. Now it sells the illusion of it.

And unless it finds its mythic courage again — unless it remembers how to build stories beyond the Skywalkers, and explore the weird, wild galaxy it once promised — the Force won’t just be asleep.

It’ll be forgotten.