‘Little White Lies’ is a bimonthly film magazine based in the United Kingdom published by TCOLondon, a London-based media company. The magazine is internationally distributed and was founded in the year 2005. ‘Little White Lies’ emerged after the adventure sports and lifestyle magazine ‘Adrenalin’ became bankrupt and subsequently had to disband. A group of friends who were working at the magazine had seen a degree entitled ‘Little White Lies: Issue Zero’ by Danny Miller and made the decision to turn it into a full-fledged magazine. This eventually led to a positive response and recognition in the film-industry and in 2014 the book ‘What I Love About Movies’ was published in 2014 by Faber and Faber. Being the first ‘Little White Lies’ book. This book took the responses to the question ‘What do you love about movies?’ from famous actors such as Kristen Stewart, Ryan Gosling and Helen Mirren as well as well-known directors like Francis Ford Coppola and Quentin Tarantino.

‘What I Love About Movies’ collects together ‘fifty of cinema’s brightest lights’ to answer the simple question of ‘What do you love about movies?’. Their declarations of what makes them so passionate about movies and what they do has been comprised into this one book celebrating the moving-image and presenting ‘newly commissioned illustrations’ from world-renowned graphic designers, illustrators and artists. One of the most famous quotes in this book is by the director Darren Aronofsky, well known for his psych (Black Swan 2010, The Wrestler 2008) he states “the close-up, It’s an overlooked great invention of the 20th century. The fact that one can stare into someone’s eyes without being self-conscious is a great gift to all of us. It’s why I love cinema.”

‘TCOLondon’ defines itself as a ‘new breed of media company’ this marketing agency is largely compromised of two ‘award-winning’ global media brands: ‘Little White Lies’ a magazine providing ‘truth’ and ‘movies’ consisting mainly of movie reviews and articles, and ‘Huck’ a cultural magazine providing articles about art, photography and film. They also own 71A is a gallery owned by ‘TCOLondon’ providing an events space and engagement lab also curating activities and exclusive experiences across Europe and the United States. ‘TCOLondon’s’ channels reach half a million people across print and digital media.

‘TCOLondon’s core demographic is set to appeal to a target audience of young teenagers/ young adults aged between 18-35 who aspire to be urban trendsetters. TCOLondon’s channels such as ‘Little White Lies’ currently reach half a million people across the print and digital media, engaging people through topics of common interest such as: movies, creativity, actions sport, music and the anticipation of being able to discover what’s coming next. ‘Little White Lies’ is primarily well-known for publishing a range of different genres, but primarily being independent, art-house films, a lot of which have become popular at the Sundance film festival. Despite this they also have constructed reviews on higher publicised, higher grossing films such as their recent review of the film ‘Dirty Grandpa’ (Lionsgate, 2016) a large-scale Hollywood production receiving largely negative reviews. Some of the other clients of TCOLondon include: Levi’s, Diesel, Google, Playstation, Jameson Irish Whisky, adidas, Honda, Microsoft, Nokia, POC, Grolsch and Volkswagon.

According to ‘TCOLondon’ their main purpose for all their publications is to 1. Make it Count – to work tirelessly to make something that will resonate with their readers, 2. Mix it Up – making sure that all the channels they work to ‘reach millennials’ by amplifying their content through different media (e.g. print, digital) and finally 3. Give it Meaning – fulfilling their role through connecting brands to different writers, artists, photographers and film-makers as well as constantly searching out new connections to make with upcoming media artists. ‘Little White Lies’ aims to engage readers on a whole new unique level than other print magazines and has been cited by The Guardian as being “the best designed film magazine on the shelf” with “unimpeachable good taste”