Majestic Studios
A Production Studio
Bringing Education
to Life
Cinematic storytelling that lets people experience history for themselves.
Founded by Jonathan Laramy
02 — Who We Are
I
The Founder
Jonathan Laramy
Creator, director, and the human judgement behind every frame.
The founder →
II
Asset slot · card still · optional
The Studio
Majestic Studios
An AI-native production studio reconstructing the worlds we can no longer visit.
The studio →
III
The Flagship
Chloe VS History
Our flagship format. A traveller through time, and the reason millions of people now care about the past.
The flagship →03
The Manifesto
It's only human.
We remember the places we've walked through. The eyes and faces we've seen. The stories that made us feel something.
We rarely remember the page of a textbook.
For centuries, education depended on one remarkable invention. The written word. Books transformed civilisation. They preserved knowledge across generations and opened worlds that would otherwise have disappeared forever.
Books were always the bridge. Never the destination.
Human beings have never learned through information alone. Long before we wrote history down, we gathered around fires and told stories. Stories gave knowledge a human face. They turned facts into memory.
Somewhere along the way, education became abstract. We got very good at explaining the world in data and dates. Perhaps we forgot how to let people experience it.
"The universe is made of stories, not atoms."
Muriel Rukeyser
We believe the future of education is not about replacing books, teachers or museums. It is about giving them another language. A language of images. Characters. Emotion. Immersion.
History was never black and white. It was colourful. Noisy. Beautiful. Terrifying. Human.
Imagine standing in a Roman marketplace instead of reading a paragraph about it. Walking through Victorian London instead of memorising dates. Watching a civilisation rise rather than studying a diagram of its fall.
When knowledge becomes visible, it becomes personal. And when it becomes personal, people remember it.
This is why our stories have characters. People rarely fall in love with information. They fall in love with people. A guide. A traveller. Someone who asks the questions they would ask themselves.
That is why Chloe exists. She is the bridge.
Artificial intelligence makes this possible in ways that did not exist before. AI is the camera. The paintbrush. The printing press. A remarkable tool, and still only a tool.
Technology can generate images. It cannot decide what matters. It cannot recognise emotional truth. It cannot choose the right question. It cannot build trust. It cannot take responsibility.
That is why AI still needs directors.
The future belongs to those who create the most meaningful experiences, not those who generate the most content.
Majestic Studios exists for one simple reason.
To bring education to life.
04 — Selected Work
Selected Work
Two thousand years of history, reconstructed frame by frame.
Majestic Studios
Majestic Studios
Majestic Studios
Chloe VS History
Chloe VS History
Chloe VS History
05 — What We Do
What We Do
We build worlds. For broadcasters, for institutions, for brands, and for audiences of millions.
Education
Visual learning experiences that make curriculum subjects unforgettable. Built for schools, publishers and educational platforms.
Museums & Heritage
Reconstructing lost worlds for the institutions who preserve them. Exhibition film, immersive experience and digital interpretation.
Documentary
Long-form historical storytelling with cinematic ambition and rigorous research at its foundation.
Brand Storytelling
For brands with genuine historical substance. We tell your story the way it deserves to be told.
Media & Broadcast
Format development, co-production and licensing for broadcasters and streaming platforms.
Consulting
AI production workflow, character consistency and creative direction for teams building in this space.
06 — The Majestic Difference
The Majestic Difference
Anyone can generate a picture of ancient Rome. We are interested in something harder.
Every frame we produce begins somewhere real. An engraving. A photograph. An archaeological record. A primary source held in an archive. We start with what actually existed, then we bring it back to life.
Our scripts are researched before they are written and fact-checked before they are produced. Historians review our work. When we get something wrong, we correct it.
The tools are only ever a small part of it. Every decision about what deserves to be shown, what must remain uncertain, what should never be exaggerated and what responsibility we owe the audience is made by a person.
That is where the work actually happens. It is also the part that takes the longest, and the part nobody sees.
We think you can tell the difference.
Source: A General View of the City of London, next the River Thames — Bowles & Carver, London.
07 — Recognition
Recognition
Our work has been featured by:
Business Insiderlogo file
AI Creator of the Year, 2026World Influencers and Bloggers Awards, Cannes
08 — About Jonathan
Jonathan Laramy
When I was a child, my parents took me to the York Castle Museum.
Inside there is a reconstructed Victorian street. Real shopfronts you can walk into. Waxworks of the tradesmen. The whole thing built at full scale so you are standing in it rather than looking at it.
I have thought about that street for most of my life.
I was the child who asked why until the adults ran out of answers. Days out to historic houses and castles, taking in the architecture, trying to work out what had actually happened there. I wanted to know what these places had genuinely been like. The noise. The smell. The people walking around with no idea they were living in history.
For a long time there was nowhere to put that.
I did what a lot of people do. Insurance, then marketing, then eight years in customer service. I was good at it and I did not hate it, but I always had ideas I could not execute. I could not code. I could not animate. I did not have the budget to learn. That felt like the end of the conversation.
Then the tools arrived.
Suddenly I could describe something in plain English and watch it appear. Everything I had been carrying around since that Victorian street in York had somewhere to go. I looked at what people were making with these tools and noticed that almost nobody was pointing them at history.
I started with Greek mythology, because of a strategy game I had played obsessively as a teenager. Then ancient civilisations. Then entire histories of cities, going back to the moment a place first existed and watching it grow.
Majestic Studios came out of that. So did Chloe, who has now reached more people than I can properly get my head around.
What I do has a lot in common with what any filmmaker does. Decide what the story is. Work out how to tell it. Choose what the audience sees and in what order, and get the details right so nobody has a reason to doubt you. The tools I use to build the images are new. The craft underneath is not.
The job is to make somebody feel what it was actually like to stand somewhere they will never get to stand.
I am still building that Victorian street. It is just considerably longer now.
09 — The Library
The Library
Everything we've learned, written down.
Guides, playbooks and resources for people building in this space.
Reconstructing History
The complete AI history reconstruction method, in fifty pages. How a historical source becomes a finished cinematic frame: research, prompting, character consistency and the judgement calls in between.
Ebook · 50 pages
Get the Guide
AI Masterclass — Short Form
The short-form playbook. How we build historical shorts that hold an audience: the idea, the shot list, the tools and the workflow that keeps a character the same person in every frame.
Ebook · Short form
Get the Guide
10 — Contact & Collaborate
Let's Build Something Together
Museum, broadcaster, publisher, or a brand with a story worth telling properly. We would like to hear from you.