The gaming media industry – like many other media industries – has been fundamentally transformed by the advent of new media and the widespread proliferation of internet technologies. The increasing prominence of platform powers, algorithmic influence and generative AI technologies has made it increasingly difficult for traditional forms of gaming media and journalism to survive; over the past year, multiple waves of layoffs have hit some of the largest publishers and sites in the field. With work becoming increasingly precarious and uncertain, many creators are embracing independence and striking out on their own.

This research is dedicated to analysing one specific subset of independent creator – creators of gaming podcasts – in order to better understand how these changes in online media industries are shaping how workers making a living in the ever-changing creator economy. Drawing on interviews with creators, surveys of listeners, and analysis of episodes, this work highlights the myriad of ways creators navigate the new media landscape. Particular attention is given to the monetization strategies of creators, showcasing how creators trade a traditional employment hierarchy for one governed by the platforms which they use to monetize their labour. In this way, the work of creators recalls Silvio Lorusso's discussion of the entreprecariat - a worker whose precarious work conditions are spun as entreprenurial opportunities.

These transformations are an important area of research with applications beyond the field of gaming media; as multiple creators pointed out in discussions, the shifts and transformations in this field are occurring in all areas of media. In this way, analysis of these podcasts can serve as an important case study which helps to further understand the ways the online media ecosystem is continuing to change, as well as the opportunities and issues that arise as a result of these transformations.

A paradigm shift in film censorship in China is surfacing, since the Publicity Department of the Chinese Communist Party (CCP) assumed responsibility for supervising film censorship from the State Administration of Radio, Film, and Television (SARFT) in 2018. Practitioners in the film industry have experienced gradual yet drastic changes in censorship criteria, which has resulted in an increasingly restrictive environment where filmmakers find it more challenging to create censorship-free contents.

Traditionally, media in China has been regarded as the "tongue and throat" of the Party, a concept rooted in Marxist ideology. This role was primarily fulfilled by state-owned news media such as Xinhua Agency, China Central Television, and official newspaper publishers. Ironically, in 2017, Film Industry Promotion Law’ implemented by the State Council served as an de-facto extension of the “tongue and throat” policy to the broader film industry is threatening its vitality by reducing creative works to mere propaganda vehicles that only convey government-approved narratives.

This project argues that the observed paradigm shift in film censorship is intrinsically linked to the evolving political environment in China. It reflects the government's intensified efforts to exert greater control over the cultural industry, a move that coincides with the ongoing reform of China Central Television Station. The transformation from a system where filmmakers could create anything not explicitly forbidden to one where they can only produce what is explicitly allowed represents a fundamental change in China's approach to cultural regulation.

The implications of this shift are affecting not only the creative freedom of filmmakers but also the diversity and vitality of the Chinese film industry. This research explores the mechanisms behind this change, its impact on the film industry, and its broader significance in the context of China's cultural policies, aiming to shed light on the complex dynamics among state control, industry prosperity, and cultural identity in contemporary China.

While current scholarship has explored the international distribution of Chinese dramas and their cultural messaging, less attention has been given to the tangible effects of state regulations on production and global reach. This study takes a different approach by focusing on the impact of Chinese government regulations, particularly following the 2019 costume drama ban (later rescinded), on the production and international distribution of Chinese costume dramas.

Through a multi-method approach combining analysis of academic literature, policy documents, and in-depth interviews with historical and costume consultants, this research traces the evolution of Chinese costume drama production. It examines how media industries navigate regulatory constraints and adapt content for both domestic and international markets, with a particular focus on the role of streaming platforms and short video formats in responding to or circumventing these restrictions.

Preliminary findings suggest these regulatory constraints have led to an increased emphasis on historical accuracy and innovative production strategies. While initially driven by financial interests, the adaptations made by streaming platforms and production teams have inadvertently promoted Chinese aesthetics, philosophy, and culture. This outcome aligns with the Chinese state's broader goal of enhancing cultural influence, revealing an unintended convergence between market strategies and state objectives. The regulatory frameworks have also reshaped the creative labour landscape, integrating academic expertise into the media industry.

The contributions of this research are threefold: it advances our understanding of the intersection between state regulations and media production, particularly within the context of Chinese costume dramas; it integrates fashion, media, and cultural policy studies to analyse how regulatory frameworks shape media production practices and international distribution; and it provides insights into the adaptive strategies of media companies and the role of creative labour in responding to regulatory constraints, offering a nuanced perspective on the relationship between state policy and cultural production.