On Friday, February 21, 2025, employees of The Mill, MPC, and Mikros Animation received a notice: operations could cease as soon as Monday. Technicolor Group, a century-old titan in filmmaking and advertising production, was on the brink of collapse.
The fallout? Over 10,000 jobs worldwide are now at risk, with the company filing for administration in the UK and issuing WARN notices to its U.S. staff. Technicolor Creative Studios UK Limited has appointed Interpath Advisory to oversee the process.
Another letter from Technicolor CEO Caroline Parot went out over the weekend, landing in inboxes across the U.S., Canada, the U.K., and India. The message? The situation is dire.
Now circulating on Reddit, the letter leaves little doubt: the entire company has become undone.
Here’s an excerpt from the full text.
As we have communicated over the past months, the Group has been experiencing difficulties linked to a variety of factors and has not been spared from external headwinds: the difficult operational situation resulting from post-covid recovery, a costly and complex separation from the previous group followed by the writers’ strike leading to a slowdown in customer orders causing severe cash flow pressures. Today, the company must face reality. Due to inability to find new investors for the full Group, despite extensive efforts, Technicolor Group has filed for Court “recovery procedure” before the French Court of Justice to give a chance to enable to find solutions.
It’s a stunning unraveling for a company once synonymous with Oscar-winning visual effects and Super Bowl commercials. The Mill—founded in London in 1990 and acquired by Technicolor in 2015 for €259 million—was a cornerstone of the industry, contributing to projects like Gladiator. But post-pandemic instability, Hollywood strikes, and shifting media economics exposed deep vulnerabilities.
The cracks had been forming for years. The final blow? A failure to adapt at speed.
Technicolor’s downfall is not an isolated event—it’s a warning shot for creative agencies and production houses everywhere. The old models aren’t just crumbling; they’re collapsing in freefall.
For agencies, the question is no longer if they need to evolve but how quickly. Without reinvention, even the most established names won’t survive.
A century-old playbook no longer applies. Technicolor, like many legacy creative companies, relied heavily on a single revenue model: large-scale film and advertising production. But as client budgets shrank and consumer behaviour shifted, its failure to expand into new revenue streams became a death sentence.
Creative agencies must move beyond traditional production models. Growth areas include:
The agencies that thrive won’t be the ones clinging to the past.
Hollywood strikes. Post-pandemic disruption. A cash flow crisis. When multiple shocks hit, Technicolor couldn’t pivot fast enough.
Agencies must build flexibility into their business models—whether through:
Being reactive is no longer an option.
Creative businesses often run on project-based income, making them financially fragile. Technicolor’s story proves that revenue alone isn’t enough—profitability, cash reserves, and sustainable margins are the real lifelines.
For agencies, that means:
The era of unchecked spending is over. Agencies need long-term financial resilience, not just short-term wins.
Technicolor’s collapse was not inevitable—it was a failure of adaptation. Agencies that refuse to diversify, stay agile, and safeguard their financial future risk meeting the same fate. The time to rethink the creative business model isn’t next year—it’s now.