The Future of AI in TV Production with Particle 6's Eline Van Der Velden

This week on TellyCast, Justin Crosby is joined by Eline van der Velden, founder and CEO of Particle 6 – an AI-first production company shaking up the world of digital video. With a background in both physics and performance, Eline shares how her unique career path has shaped Particle 6’s groundbreaking approach to content creation using artificial intelligence.

From slashing production costs by 60% to creating AI-generated scripted content and short-form dramas, Eline reveals how she and her team are applying cutting-edge tools like Sora, DeepSeek, and ElevenLabs across the entire production pipeline. She also discusses the rise of AI-driven characters, the shift in industry roles, and why traditional production models need urgent reinvention.

Whether you’re a TV producer feeling overwhelmed by tech, or a digital-first creator eager to push the limits of storytelling, this episode is packed with practical insight, inspiration, and bold predictions about the future of our industry.

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Transcript

Hi, I am Justin Crosby, and on this episode of TellyCast, I'm joined by Elene Vander Velden, founder and CEO of Particle 6, an AI production company known for creating viral social and AI content. A Elaine's background is in physics and it drives particle six's unique approach, which combines scientific creativity with advanced technology and ai.

Making content that resonates and reduces production costs by 60%. Eileen's also become a leading figure in helping producers understand and apply AI in production, and she regularly speaks on panels, runs training, and is currently developing an AI focused project with the UK broadcaster. Today we are gonna explore how AI is shaping content creation, what skills production teams need to stay relevant.

And what's coming next for industry videos featuring the movers and shakers of the content industry. Search TellyCast TV on YouTube and hit subscribe. Elaine, welcome to TellyCast. Hello. Nice to see you. 

I'm glad we're not doing this with ai. 

Yes. Yeah. Well, but oh, we might be. Who knows? Let's, let's, let's, let's wait and see.

But thank you for coming on, TellyCast. Great to see you. AI is on everybody's lips at the moment, isn't it? It's the, it's really is the sort of. Buzzword and this equal amounts of trepidation and excitement with AI in TV production. First of all, let's let, let's kick off by talking a little bit about particle six and your background.

Tell us, tell us how you developed the, the company and I, I talked in an intro about your background in physics as well, so how does that all come together? 

Yeah, so I actually went to a performing art school. Before I studied physics. I went to TR Park, which is where. Lily Janes and Daisy Ridley went as well.

I did musical theater there and then I did quite well my A Levels and my teachers really encouraged me to go to uni and so I chose to do physics at Imperial, which was a fun four years. And I then decided that, you know, after graduating, it wasn't really where my heart was and I went back to acting and I spent my twenties.

Making a lot of TV in the Netherlands. And then I went over with WME to LA and I was auditioning out there. And in the meantime I created lots of YouTube shorts. Um, we were on daily motion as well, and I sold a show to BBC three when I was 27, called Ms. Holland. So I had this like. Mixture of, of creativity and science.

I've always wanted to bring together, and I've always tried to optimize content production. And then two, three years ago when the AI started to become very user friendly, that's immediately when we adopted it and Right. Applied it across our entire production workflow. 

Yeah. Well, we're gonna talk a little bit about that.

And as I said, again in the intros, a lot of. Excitement and, and nervousness, I think, within the TV industry about, about AI and how it's being adopted. And there's a lot of, people have very, very different opinions of it. And it's in, it'd be interesting to hear yours obviously coming from, you know, a talent side of things in front of the camera, but also behind the camera as well, when you are balancing costs versus, you know, real talent and onscreen talent and that sort of emotional connectivity that you're looking with the audiences.

So that must be a DA difficult balance to. To strike. How are you seeing AI being adopted right now and how are you using it? Within particle six, 

so three years ago we started using it in pre-production and post-production. I used to say to everyone, it's just like a rubbish intern that's not that great, but it was already showing a lot of potential and so we were applying it.

I would say now. It is incredible already. Every week it is better. Every week there's, you know, two, three updates that make it even better. And I'm a creative at heart. I love the creative process, and so I want to encourage people to not be scared of it, don't see it as a problem, see as an opportunity because I build the whole production company just so I can make my creative ideas come to life.

And this is amazing because I don't need to build a whole production company to make my ideas come to life. I can do it. Well by myself or with a small team, and it democratizes creativity in a way so that we can hear from voices that we wouldn't normally hear about. And also it's a great tool to, to reduce the cost.

And I think we're in a period right now where budgets are constrained and it's a very good opportunity to start using ai. 

Yeah. And, uh, like you sell, like you say, it's a democratizer and, and it does enable one person or, or a very small team to actually deliver the sort of content that we're, we've seen in the past for, you know, teams of 10 or, or even more.

Oh, yeah. And, and that really is, as you say, as budgets have fallen away and more and more content is going digital first, and the huge opportunities for you to. Take content direct to audiences, then it's only natural that it's becoming more and more a, a crucial part of the workflow. 

Yes. And so the creative part is the one I don't wanna dismiss.

I think people are scared of it because they haven't used it. They think it's just one button and it removes all creativity. No, it requires you to work with it and make things better. You can create a lot of rubbish using ai and that's where the skill and the experience comes in. You have to really work with it and create what you.

And your vision is, 

so for example, a really skilled camera person or a, a really skilled editor, there are certain terminology that they use that somebody without that skill wouldn't know. So for example, what a lens, you know, a certain type of lens looks like, or a certain type of film, or a certain type of grading, for example.

If they are let loose in some and, and some various AI tools, then that's gonna deliver that cinematic quality that they, that they know that they want to deliver in a fraction of the time. Right? Yeah. And without having to step outside the studio. 

Yeah. And so you still need that knowledge and that experience of the, you know, picture composition, the angles, you know, the lenses, whatever it is, or how you even tell a story.

For an editor. So all those skills, skills still come in and they still make part of the the final product. Yeah, the final creativity of it. It's all still there. Don't worry. 

Yeah. So tell us about your, your projects that you've created with ai then. So, so let's, let's, let's just assume that everything you're doing post and pre-production.

It's using ai and that's, you know, lots of people are, are, are also starting to pick that up and, and within the, the TV industry. But what about AI generated content and, and, and the, the, uh, the creativity that you're seeing on, on screen? Tell us about what you've been doing in that space. 

Yeah, so we've started producing loads of short form content just because it's easier at the moment, but we're already in works for longer form inscripted and unscripted.

In factual entertainment and other genres. We have got a little donut clip and we can show you that's fully created in ai. We've got some travel clips fully created in AI and some scripted scenes fully created in ai. So that's really where we are playing around at the moment. But then we're also, you know, in our current commissions, we use it to optimize our pre-production at post-production, and then we use it.

We we're working towards, you know, making, making fully half hour shows. 

Right. Okay. With ai. Okay. So you said use a, there's a donut clip. Tell us a, a bit of background on that. 

So this took, you know, quite a long time to put together, you know, it's not like we just press a button, say make a donut advert, you know, there's storyboarding, there is, you know, what are we trying to represent?

What, what are we, what's the message we don't wanna put across? And then you've gotta play around with something like soa, which is what we create this in. And I would say you get one good clip for every nine clips that you generate or that at least work in the edit flow that you wanna get to. You also have to have this reverse engineering method to your directing.

So you gotta think, okay, this is what I've been able to generate. How do I reverse? This engineer this into a final edit as opposed to, these are the exact, this is the vision I want to create. Ah. 

So that's interesting. Mm-hmm. So if you, if you're gonna storyboard, you say you storyboard a whole clip. Yeah.

But actually what you produce takes you on a different journey. 

You might, yes. Because it comes off with all sorts of weird things. So right now that is the method that we're applying in order to get something coherent towards the end. Yeah. And you might. Yeah. Need to go, oh, well it's created a donut falling from the sky actually.

That, that's great. Let's, let's go with the donut falling from the sky, or let's go with this scene. You know, it's, it's a bit more, you have to be flexible. 

Yeah, okay. That might 

not always be the case. I think the journey we're on is gonna be so fast and the iteration of the AI tools is going to change so much that it will be completely different by the end of the year.

But that's where we're at right now. 

Okay. Alright. Can you give us an idea of, you know, what the amount of time that would usually use. To produce without AI and how long it actually took you using the tools that, that you used. 

Yeah, so I think the direct comparison, you can do that and some people online are doing that.

Like, oh, this was a, you know, a million pound advert and we made it for, for, you know, 10 k whatever, or less, I would say, because all these tools are still experimental, I, I wouldn't make it a direct comparison because you're still working with it. You're learning as you're doing it. This took us three weeks, probably start to finish.

And if you were to make it in CG, i, it would cost a lot more than it did to 

us. Okay. Yeah. Alright, so how about, let's, let's keep on talking about AI and, and creativity. How do you avoid, you know, starting to lean into AI and, and letting that take over when it comes to, you know, the, the over automation le leading the way rather than actually your own creativity.

How do you balance that? 

Yeah, so I'm personally not, I'm a creative, so I'm not worried about that because I still think the creatives want to put their vision out there and, and that's all, it's, it's aiding us, right? Yes. There will be, there will be automated things probably in about five years time, I think you can press a button and generate a half hour sitcom.

Will it be good? I'm not sure. I, I can't guarantee that it will, I think. Why do people make film and television? It's because people have this desire to tell a story and a desire to create something. The AI doesn't have that desire in the same way, and so I think that's why we create it and why we watch it is because of a human need to tell stories.

So I'm not worried about that bit. 

Yeah. It is interesting. You talked about scripted as well. Mm-hmm. Earlier on, because scripted, when it comes to digital first is, you know, it's a very diff difficult model to, to crack. Really. Channel four just, just commissioned their first scripted show for digital first.

But, you know, the, the costs involved and the benefits that they're gonna derive from that for advertising is very difficult for anybody else to, to, to replicate, I think. But, but when it comes to ai, that seems to be. A real opportunity when it comes to scripted and creating characters, creating avatars.

We've seen, you know, lots of different systems creating amazing avatars, and there those are, I mean, I just saw one at the weekend, which is, I can't, it's a, I can't even remember the company's name. There's so many of them now. But it's, it's incredibly lifelike. So really that's gonna be the casting, you know, situation is gonna be, you know, these CRE avatars created, which we've seen a lot of that happening in South Korea at the moment.

And avatars having their own, their own careers as well, music careers as well. Do you think that that is. The opportunity when it comes to scripted digital first, do you think that's, that's the way that you are, you know, generally the path that you are going down? 

I think scripted is the most exciting. I mean, I think all of this AI stuff is the most exciting time in history to be alive for film and tv.

I think scripted is the best place because. It's where we can make the biggest difference. So the budgets are in a really difficult spot. I think we'll actually create jobs by having AI lower the cost of production in scripted, and thus putting a lot more projects into being green lit, creating more jobs that result.

As a result of that. In scripted, you can already. Outsource a lot of it. You know, you could create a scene in this room and we could make it look like it's a period drama. You know, there's so much you can do that will make it look amazing using ai. And I know that, you know, runway released a couple of clips last week of a.

A drama, which looks incredible. I, I, the point is everything that we produce, you shouldn't know that we made it using AI when it's scripted. And I think that's the same for the AI characters that will be coming out. You shouldn't know that their ai and that's is the only way that humans will accept it.

Yeah. And, and we, you know, we're talking about the different models that are being used at the moment. So, you know, the Sawa, I mean, there's so many, you, you tell me the, tell me the tools that you are using. When it comes to scripted in particular, what are the, what are the best tools that you are finding that, that, that work for scripted?

So, yeah, we, we plug and play in different ways with different production companies. So it's either directly for a commissioner or for a production company or for ourselves. And when you say a 

production company, so you are, when you are work, when a production company brings you in as a consultant, essentially 

they.

Well, we have different ways of working with production companies because either they can work with us like a co-pro and we work with them together, not so, not a consultancy in the same way we really work on the full production timeline with them. Okay. Or they outsource just a small bit to us that they want to reduce the cost on or anything like that.

Yeah. And then in the process of working together with us. They'll learn everything there is about it. But the tools that we recommend, I mean, they're different every week. It's literally, it's an absolute minefield because it's 

just every, every, every up update. 

Oh my, it's across. I mean, it's across 

SOA or, or you know, Google's tools that, you know, they that then it, they, they jumper, you know, they leap ahead, don't they?

Yeah. Yeah. So, Eileen, give us your top five AI tools. For TV producers, let's start at number five. 

Deep seek for production managers, anything with numbers. 

Okay, how about number four, 

chat, GBT. For creative producers, it's great with language, it's great creatively. 

And number three, Sora 

image and video generation.

Okay, number two. 

Cling. It's great at consistency in characters, but number one isn't really number one. 

Okay. Alright. 

Number one is any voiceovers. So 11 labs, 

for example. Okay. Right. Okay. It's it, it gets expensive. All the subscriptions as well that you have to pay. 

It does and it doesn't, compared to the, I think the problem is when you've got a full workforce and then you've got the subscriptions on top.

Mm. But we are, we, we have a small workforce and then the subscriptions on top. Yeah. It's, you know, it's not, 

it's not too much. Okay. So a lot of TV producers, I think when it comes to the digital first space. I've, you know, I sense a lot of the traditional producers are, are becoming, well they're, they're, they're a little bit res reticent to let go of the traditional models.

You know, they're waiting for the traditional commissions to come from Channel four and BBC and ITV and Channel five and everybody, you know, to me there's, that's a little bit like waiting for a bus that might not come. And I think AI is also a similar. Approach that, you know, a lot of producers may be a, a little bit skeptical and not interested in, you know, even en engaging with it.

What would you say to to traditional TV producers who, who are a bit. Feel overwhelmed at the moment with it. 'cause I think a lot of them do 

I get that? 

Yeah. Yeah. I mean, how, how would, how would you, would you advise them to engage with, with AI tools really and AI content production? 

Yeah, so take baby steps.

I mean, you know, start just organizing your weekend using chat, GPT or deep seek, you know, just do the basics, you know, organize your evening, get it to book your restaurant, whatever you want. And I think the traditional model still stands. I think it's a very good model. And I think it just, you know, and, and I think commissioners out there are realizing that we can do it for the budgets that they have available.

So they're coming to us and saying, can you do it for this tariff? And I'm like, yeah, that's a, that's a great tariff. We can definitely produce it for that. And that's just the difference right now is you need to be able to. Make it work for the budgets that they've got. And if you have the right tools in place, it's, it's not that hard.

Yeah, yeah. Oh, that's interesting. So the traditional 

model is still a very good model. You just have to adapt to where the budgets are at. 

Yeah, and you use more and more AI tools to help speed the process up if it's a lower tariff. Right? Yeah. Optimize it. Yeah. Yeah. I know there's a couple of projects that you've recently worked working on with Hearst or have delivered with Hearst Networks.

Tell us a bit about those and how you used AI in the, in the production of those. 

Yeah, so we have built a. Format creator, so it actually is more accurate than a human because it will cross reference and check with every existing format out there to make sure it's not copying anything. We then feed it information about the shows that we wanna be creating, and then it will come up together with us and we'll brain do a brainstorm together so that machine is working in pre-production and development.

Then when we get to. Casting, locate location, scouting, you know, everything can be done using our different custom GBTs that we've made. Then you've got the shoot, which we still do in a semi traditional sense. We've optimized that to a certain extent as well. And then we've got the post-production in which we use lots of AI tools.

Again, I would say there's no more need unscripted or unscripted to ever do a reshoot, because you can do that all with ai. Now there's, there's just so much you can do that people don't know about. Yeah, that's, I think that that's the main problem with AI is the adoption rates quite slow. 

Right. Okay. Well, is it just coming back to a, a phrase that you use custom GPTs?

Yeah. So expand on that. 'cause every, a lot of people are aware of chat, GPT, and there's lots of different models up to four, 4.0, I think it's now. And they've just literally, I think in the last week they've launched their new image generator as well, which is amazing. It seems to be, you know, more and more.

You get more and more value from being a subscriber. There's lots and lots of tools Yeah. That come on, on board with it as you're going along. But, um, custom gpt, is this just about it learning more about you and, and your prompting, or is this. Uh, well explain, explain custom gpt. 

So actually, if you have a GPT account, it will learn about you as you go.

So it will soak up all your information, you can toggle off something where it uses your information that you put in to learn further and, you know, feedback to the whole system. We've toggled that off so everything is contained. On our side and nothing has been used to train you then can create a custom GPT, which is, you'll see it on the thing, you can go to my gpt and then create custom GPT and you are creating a custom program that can do something for you, and then you could even sell that on the GPT store if you wanted to.

Yeah, I've seen that. I've seen this. There's, there's a, a few people on LinkedIn, particularly at the moment of, you know. I think you can actually see it as well, but write your LinkedIn post, your daily LinkedIn post, right? And you can get a GPT to do that, can't you? And which sort of feels cheating a little bit, but, but what I could 

do, for example, to practice for today is I could put your podcast in there and I could say, can you please interview me as if Justin is interviewing me to practice Right.

And then it would create a podcast custom GBT. That's Justin. 

Yeah. That's freaky. And, but there's so many ways that you can apply that. I mean, it's like, you know, in daily life, you know, not rehearsing for, rehearsing for roles, or rehearsing for interviews or rehearsing for, yeah. Whatever it is. You 

could do you, this is the thing, and this is what I always say to everyone, is like, every task you get in life.

From today, think about and instead of Googling or whatever, it just try and put it into a LLM, whether it's deep seq or perplexity or whichever one you prefer, and see if it can do the task for you. That's where your number one starting point should always be. 

Yeah. Okay. So as I mentioned again in the intro about a project that you're working on with a UK broadcast, I know you can't.

Talk about too much about that, but can you give us a, a little bit about, a little bit of information about the project? Don't mention the broadcaster, but, you know, give us a, a couple of hints about what it is you're developing. 

Unfortunately, I can't talk about it, but it's in the factory entertainment space and I think there'll be a quite a bit of programming about AI in the next year.

But then I think the, the, that'll be just a blip in time where we're talking about, you know, programming about AI or. You know, having AI very present in the show will be very temporary. I think after that we'll just go back to normal programming and AI will be ever present in every program. We just won't know about it, and that's the way it should be, in my opinion.

And how about commissioners? How are they? Working with AI now because there's, there must be a huge temptation for producers just to bang a load of stuff into, into chat GPT and, and hone the pitch for a different broadcaster, uh, you know, based upon a central idea and, and tweak it. I mean, are they becoming quite savvy as well now when it comes to ai, do you think?

Yeah, I think they're savvy, as in they know it's around. They know it can optimize something. They know, it can elevate the project for the budget that they've got available, and so they are. Demanding that, rightly so. And I'm here for it. And I love the fact they are knocking on our door and saying, can you do this for the tariff we have available?

And absolutely it's possible and it's gonna look amazing. And that is, I, I love that commissioners are open to it and they are seeing the potential. 

Yeah. What excites you most about AI in the whole storytelling space right now? 

So. I think in the 1920s there was a big tech change, right? That's when we started making films and Universal Disney and Warner were born, and I think we're in that exact same era now where there'll be a new group of creative powerhouses that will arise from this time.

And I hope to be one of them. And that's what I think is so exciting about it. 

Yeah, that I, I mean, that, that is incredibly liberating, isn't it? That, that the thought of anybody, that level playing field and, and being able to capture their own creativity, but with and harness the, the super powerful tools that everybody's got access to now could become a, a huge media enterprise based upon harnessing those skills together and taking it direct to consumers and being able to, you know, launch this without.

The need for any gatekeepers. 

Yeah, well, launching the distribution part's interesting as well. That's a whole other conversation, but I do think you can create a, you know, 50 million pound film soon in your bedroom. That has never happened before. You know, there was so, such gatekeepers, as you say, to enter the movie industry and that will.

Change, it will be more merit based, in my opinion. And we are hiring from all walks of life. You know, people who are playing around with, with these tools who are seeing the opportunity. You've got the right mindset. 'cause that's really what it's all about now. It's not about being old or young, it's about being open to experiment and not stuck in your ways.

Yeah. And you know, I, I think that, you know, in a, in a, in a year or two's time, I mean the. The traditional TV production company model. It's not gonna be there anymore, is it? I mean, it's not gonna be, is it gonna be still fit for purpose? 

I think the, which? The funding model? 

No, I mean the, or the, if you look at a traditional TV production company now and the roles that, that, oh no.

Oh, no, no. My company runs. Completely different. It runs like a tech company. Yeah. We're fully remote. We spend one day a week in London together for whoever is in London. It's a completely different setup. We, we run it completely differently and, um, I think in, in a year's time it's going to be even more different and you will have especially script so scripted will be.

Fully AI with these characters. And it can be famous people and they'll have a digital twin, but they'll still get paid, right? So they could be making five films at the same time. So it's a huge opportunity for them 'cause they'll be be earning, you know, unlimited amount of money doing multiple projects at the same time with their image.

You then. I think theater will thrive. I think everyone will flock to the theater to see these actors in real life. That's interesting. And to feel more a TV series will be a bit like, you know, we all love Frozen. That's animated. We still love it. We still go and see Frozen in the theater, isn't it? So 

actually it could give a massive boost to live performance.

And yeah. As you, I mean, as you were talking, it reminded me of a, a, a post I saw on LinkedIn this morning about somebody in the advertising industry and. In the same way that you are talking about a global media powerhouse, being able to be delivered by somebody like yourself. With this from a small company starting point, the traditional advertising agency model where you see hundreds of people in these massive advertising agencies, that's, that's gonna blow up completely.

I, I mean, that can't be sustainable in for the next, you know, year, 18 months. I mean, there's gonna be huge layoffs and. And huge changes. And you know, again, advertising agencies born in bedrooms, born from people working from home, being able to create multiple adverts for multiple markets using, as you say, maybe the, they license the Tom Hardy.

To do various different whiskey adverts for different countries, you know, simultaneously this sort of thing is, is, is really exciting. And maybe, you know, maybe the, the artists want to focus more on live and maybe they, they, they feel that is something more rewarding for them and, and they can, they can perhaps do that.

Well, they can do it all. Yeah, that's the difference. They can be doing the theater production as well as being a few films. 

Yeah. 

And it's not one or the other. And it shouldn't be, you know? Yes. We need to all adopt and adopt this new technology, but we all need to. Right. It's a level playing field. There's nobody who doesn't need to use AI in the next five years across the board.

Yeah. That's what I think, you know, it, it's, it's survival of the fittest and who fits to the new. Methods. 

Yeah. And it is survival, isn't it? I mean, is this a survival game we're in? It's, yeah. Yeah. Yeah. So if you, if we were chatting in a, in a year's time Yeah. What would success look like 12 months from now for you in particle six?

So I think we would be creating some of our own AI productions, short films. That would be exciting. I think we'd be working with. Really great forward-looking production companies that need help producing specific parts of their program or to work together on programs to optimize it and working directly with commissioners, producing shows for them using, you know, semi AI with pre and post-production or fully AI as well.

Okay. And you talked earlier on about distribution, which is, which was interesting. So I think, I mean, how, how do you see. The distribution space for, for content changing in the next year as a result of ai. 

I sometimes look at, you know, because I came from the YouTube background and I was a YouTube in my twenties and.

I look at what I like all the, the only reference I can go off is my own behavior, and I still use streamers. I still watch the B, B, C. I still watch Channel four, you know, so I don't think they are going to lose their position as a distributor of content. Can 

I ask you why though? Why you use. Those streaming services, you know, what is it that's, that's, that's driving you to use them?

Is it, is it quality? 

It's quality and for me it's mostly scripted. And I think scripted isn't necessarily on digital, which you mentioned earlier as well. Yeah. It's hard to produce. I mean, I know companies like real short are doing, you know, short form of episodic content, but. I, I still think they'll have their position.

I don't think they're going anywhere. 

Yeah. And well, I'm, I'm seeing, uh, are you familiar with a company called Darman Studios? Do you know about dharman? Darman are hugely popular script, short form scripted company in America. And we had Martin Tricky from Super 55 on the show on our last episode. And that's short form scripted?

It is, uh, it is really. Taking off in China and, and various other territories that he's keeping an eye on as well. 

Yeah. 

So again, that's, that's maybe something to, to, to watch in. Yeah, 

so, so we, we are playing in that space and we've done some short form dramas. I still like lean back content. That's just my personal preference, but I do think that's an, a very interesting space and I think people want, you know, what I get frustrated with, with a.

A white Lotus, for example, is I have to wait for every Monday evening. Mm-hmm. I don't want to, I want something every day. And I think that's what those dramas provide is, you know, you can watch it a one minute clip every day. Yeah. If not more. So yes, there's this space for everyone to play in this, and that's the exciting bit.

And now it's time for Story of the Week where my guests get to highlight the recent content industry news story. That's caught their eye. Elene, what's your story of the week? 

I love the h and m story where they're using the digital twins as their models. 

Okay. So 

obviously they have so many stores worldwide and and advertising campaigns, and they have done it in a really ethical way, which I like.

They've used the existing models and they've made a digital twin of them, and they still pay them. They can recreate the shoots for all the different clothes and stuff as they go, which is excellent. And the the model said, great. I don't have to have jet lag. I don't have to keep traveling to the different regions for the different photo shoots around the world.

Excellent. And I think that's how we should approach it. It's a win-win if we get it right, 

so the talent gets paid, uh, and the brand in this case probably saves on production. 

Yes. 

And who or what is your hero of the week? Alene. 

So tonight, well, I don't know when this is coming out, but the finale of the White Lotus is happening.

Ah. So my hero is Mike White because I really enjoyed what he's done in the past three seasons of the White Lotus, and I love him and Dave Bernard have been doing. In creating this show and how it's all come together every time. I think it's amazing. 

All right. And that's the, is that, that's the third season, is it?

It's 

the third season. 

Is it the final season or are they doing more? No, 

no, they're already talking about the fourth and where it's gonna be. It's not gonna be near water apparently. 

Okay. 

Oh, it's so good. 

Alright. And who or what you're telling to get in the bin? Elaine 

trolls. Online trolls. So when I was a YouTuber in my twenties, I.

You know, you, you end up doing bigger and bigger and bigger collabs and I got, you know, a huge collab that I did and. It got millions and millions and millions of views, and I got so many death threats. And that's, that is a big moment in my life where I just went, do you know what it's all like being in front of the camera thing, not for me.

Death threats, I mean, death 

threats so bad. And I, I worry and, and I worry now 'cause I'm doing a, a. Cycling campaign for our village, and I'm getting the same sort of trolls, like people think I've got all sorts of negative agendas, which I don't, I'm just trying to make the village safe, but I think people should be less negative online.

That's my main thing, because also we might discourage people or we might, you know, you just, there's no need. 

I mean, absolutely. There's a huge argument that's happening right now as well, isn't there? Lots of people are starting to be. Arrested and imprisoned for the things that they're sharing online, which is, you know, a massive change from, from where we were sort of a couple of years ago.

And people are talking about, you know, freedom of speech is also something that's in the, in the, in the air that ev lots of people are talking about, you know, on the back of Trump and, uh, on all the changes that are happening there. I mean, it seems like it's a really, kind of feels quite febrile time, doesn't it?

You know, when people are talking about. And sharing their feelings online and becoming more and more sort. Aggressive. Yeah. I'm worried that 

it discourages people from going into politics because they're worried about what might happen online. Yeah. You know, I think people will start using AI influences instead of themselves.

Yeah. 'cause they don't wanna be, you know, you know Yeah. Attacked. Yeah. So, yeah. No, I think it's gonna change a lot. Yeah. And we should all just be a little bit more of a, a kind human race to each other. 

Absolutely. More kindness. Quite right. Eileen, thank you so much for coming on TellyCast. We really enjoyed Thanks, we enjoyed you having on the, on the show.

Good luck with everything at particle six. It's a really exciting time for you, so, uh, can't wait to see how the next year pans out for you. Yeah, all the best. Thank you for coming on on TellyCast. Thank you. Well, that's about it for this week's show for industry video featuring the movies and shakers of the content industry.

Search TellyCast TV on YouTube and hit subscribe. We'll be back with another show next week. Until then. Stay safe.