While cinemas are struggling and London’s West End has witnessed a significant escalation in ticket prices, creatives behind immersive experiences say their sector is experiencing “a gold rush moment”.
From shows built around obvious fan bases – such as Mamma Mia! The Party – to those working with established intellectual property, including Squid Game: The Experience, the UK has proven to be a world leader when it comes shows that make audiences feel part of the action, rather than just observers.
Little Lion Entertainment are the team behind two shows currently running in the UK: Pac-Man Live in Manchester and the Crystal Maze Live in London.
Its CEO Tom Lionetti told Sky News: “There has been a real boom in the experience economy… It kind of feels like a bit of a gold rush moment in this industry.
“It’s not nascent anymore, it really is a big industry and it’s getting bigger.
“West End theatre is incredibly expensive at the moment and even cinema can be expensive for what it is, so I think it’s about caring about the experience … you’ve got to consider value for money these days.”
Their Crystal Maze show challenges ticketholders to climb through tunnels and collect crystals just like contestants on the ’90s programme.
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Image: Fans at the Crystal Maze experience have the chance to take on the gameshow’s final round
And it’s one of the longest-running immersive shows in the world, still going strong in London 15 years after the concept was first staged.
“The genesis really was this idea of breaking the fourth wall,” Lionetti says. “I was an actor and I come from a theatre background, but what we were really intrigued with was giving people agency so you become the star of the show.”
Last year, according to the Gensler Research Institute’s 2025 Immersive Entertainment & Culture Industry Report, the global market for immersive entertainment was valued at £98bn – and it’s projected to reach £351bn by 2030.
Despite times being financially tough post-pandemic, while cinemas have been struggling to put bums on seats, the continued popularity of experience events could indicate consumers are being a little more choosy about what they spend their hard-earned wages on.
Image: Participants get the full experience – minus the hit show’s host
Our eagerness to show off on social media could also account for some of what’s driving the boom, as well as the isolating nature of how technology-dependant we’ve become.
As Secret Cinema’s senior creative director, Matt Costain, explains: “Whether it’s competitive socialising or immersive experiences, people are look for something that offers them more… and this is an example of an activity where people can come together and have a sense of community.”
Secret Cinema – which combines live performance and film screenings – has been staging events for 15 years now.
In that time, they’ve partnered with major studios from Marvel to Netflix. Their latest offering will run from August see them bring Grease’s Rydell High to life.
Image: Secret Cinema is recreating locations from the classic film
Costain says: “When we first started this was niche, film fans who wanted to dress up and keep a secret… but immersive has moved mainstream and we’ve found ourselves one of two or three companies who’ve been in it since the beginning.
“Part of our job as artists is to help people remember that they really love to play.”
Image: Grease: The Immersive Movie Musical will feature Stephanie Costi as Sandy, Liam Buckland as Kenickie and Lucy Penrose as Rizzo
He jokes that those “who find it the most difficult to get started” are invariably the ones “at 11pm with their tie tied around their head and dancing on a table”.
While there are many shows working with established intellectual property (IP), there are also some hugely creative original works also being produced – Storehouse being one of those.
For 16 weeks, attendees at Staged in Deptford, which was once the archival store for Rupert Murdoch’s News International, will be guided through a story that takes place inside a ‘digital memory palace’ that supposedly houses every story, message, memory, and meme since the dawn of the internet.
Image: Chris Agha in Storehouse. Pic: Helen Murray
Produced by Sage & Jester, its lead producer Rosalyn Newbery explains: “You’re not moving into a theatre with infrastructure, put it this way, we literally had to bring electricity to the venue, bring power to the venue, bring water to the venue, none of that was there for us… it’s a big old job and there’s a lot of detail that you can’t take for granted.”
Over 7,000 crew worked more than 57,000 hours to build the set.
Image: Storehouse at Staged in Deptford. Pic: Helen Murray
Getting a show of this size and scale off the ground is a feat in itself. As creative director Sophie Larsmon says: “There are a lot of people trying to get these projects off the ground and there are a lot of projects that never see the light of day…because of the hoops that have to be jumped through for licensing and financing.
“It takes huge amounts of creative effort, I’ve seen a lot of projects where quite late in the process the green light is taken away.”
While some creators might struggle to access support because the work doesn’t fit into traditional cultural boxes, it is certainly an industry that’s worth shining a spotlight on.
As Larsom says: “The UK has always led the way in developing this form… I think people are cottoning on to the fact that this is a sector [that’s] going to be a big revenue earner for the UK.”
The Crystal Maze LIVE Experience is on in London’s West End, near Piccadilly Circus.
Grease: The Immersive Movie Musical is at Battersea Park from 1 August to 7 September.
Storehouse runs at Depford Storehouse until 20 September.
Satire has long been an occupational hazard for politicians – and while it has long been cartoons or shows like Spitting Image, content created by artificial intelligence (AI) is increasingly becoming the norm.
A new page called the Crewkerne Gazette has been going viral in recent days for their videos using the new technology to satirise Rachel Reeves and other politicians around the budget.
On Sky’s Politics Hub, our presenter Darren McCaffrey spoke to one of the people behind the viral sensations, who is trying to remain anonymous.
He said: “A lot of people are drawing comparisons between us and Spitting Image, actually, and Spitting Image was great back in the day, but I kind of feel like recently they’ve not really covered a lot of what’s happening.
“So we are the new and improved Spitting Image, the much better Have I Got News For You?”
He added that those kinds of satire shows don’t seem to be engaging with younger people – but claimed his own output is “incredibly good at doing” just that.
Examples of videos from the Crewkerne Gazette includes a rapping Kemi Badenoch and Rachel Reeves advertising leaky storage containers.
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They even satirised our political editor Beth Rigby’s interview with the prime minister on Thursday, when he defended measures in the budget and insisted they did not break their manifesto pledge by raising taxes.
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The creator of an AI actress has told Sky News that synthetic performers will get more actors working, rather than steal jobs.
AI production studio Particle6 has ruffled feathers in Hollywood by unveiling Tilly Norwood – a 20-something actress created by artificial intelligence.
Speaking to Sky News’ Dominic Waghorn, actor and comedian Eline Van der Velden – who founded Particle6 – insisted Norwood is “not meant to take jobs in the traditional film”.
AI entertainment is “developing as a completely separate genre”, she said, adding: “And that’s where Tilly is meant to stay. She’s meant to stay in the AI genre and be a star in that.”
“I don’t want her to take real actors’ jobs,” she continued. “I wanted to have her own creative path.”
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Norwood has been labelled “really, really scary” by Mary Poppins Returns star Emily Blunt, while the US actors’ union SAG-AFTRA said in a statement: “Tilly Norwood is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers – without permission or compensation.”
Responding to the criticism, Ms Van der Velden argued that Hollywood is “going to have to learn how to work with [AI] going forward”.
“We can’t stop it,” she said. “If we put our head in the sand, then our jobs will be gone. However, instead, if we learn how to use these tools, if we use it going forward, especially in Britain, we can be that creative powerhouse.”
Image: Eline Van der Velden said she wanted the character to ‘have her own creative path’
Ms Van der Velden said her studio has already helped a number of projects that were struggling due to budget constraints.
“Some productions get stuck, not able to find the last 30% of their budget, and so they don’t go into production,” she said. “Now with AI, by replacing some of the shots […] we can actually get that production going and working. So as a result, we get more jobs, we get more actors working, so that’s all really, really positive news.”
Irish author Sally Rooney has told the High Court she may not be able to publish new books in the UK, and may have to withdraw previous titles from sale, because of the ban on Palestine Action.
The group’s co-founder Huda Ammori is taking legal action against the Home Office over the decision to proscribe Palestine Action under anti-terror laws in July.
The ban made being a member of, or supporting, Palestine Action a criminal offence punishable by up to 14 years in prison.
Rooney was in August warned that she risked committing a terrorist offence after saying she would donate earnings from her books, and the TV adaptations of Normal People and Conversations With Friends, to support Palestine Action.
In a witness statement made public on Thursday, Rooney said the producer of the BBC dramas said they had been advised that they could not send money to her agent if the funds could be used to fund the group, as that would be a crime under anti-terror laws.
Rooney added that it was “unclear” whether any UK company can pay her, stating that if she is prevented from profiting from her work, her income would be “enormously restricted”.
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Why was Palestine Action proscribed?
She added: “If I were to write another screenplay, television show or similar creative work, I would not be able to have it produced or distributed by a company based in England and Wales without, expressly or tacitly, accepting that I would not be paid.”
Rooney described how the publication of her books is based on royalties on sales, and that non-payment of royalties would mean she can terminate her contract.
“If, therefore, Faber and Faber Limited are legally prohibited from paying me the royalties I am owed, my existing works may have to be withdrawn from sale and would therefore no longer be available to readers in the UK,” Rooney added, saying this would be “a truly extreme incursion by the state into the realm of artistic expression”.
Rooney added that it is “almost certain” that she cannot publish or produce new work in the UK while the Palestine Action ban remains in force.
She said: “If Palestine Action is still proscribed by the time my next book is due for publication, then that book will be available to readers all over the world and in dozens of languages, but will be unavailable to readers in the United Kingdom simply because no one will be permitted to publish it, unless I am content to give it away for free.”
Sir James Eadie KC, barrister for the Home Office, said in a written submission that the ban’s aim is “stifling organisations concerned in terrorism and for members of the public to face criminal liability for joining or supporting such organisations”.
“That serves to ensure proscribed organisations are deprived of the oxygen of publicity as well as both vocal and financial support,” he continued.
The High Court hearing is due to conclude on 2 December, with a decision expected in writing at a later date.