Industry

The television industry is at a crossroads, navigating seismic shifts in viewership habits, technological advancements, and evolving audience expectations. As outlined in Michael Piackard’s DQ Drama Trends Report presented at Content London, traditional TV is no longer the linchpin of global entertainment. Instead, a new wave of creator-driven content and social-first strategies are reshaping the landscape.

A New Era of Collaboration and Optimism
After a turbulent few years, industry leaders express cautious optimism. Steve Matthews, Content Partnerships Executive at Banijay, notes, “People are trying to figure out successfully how to work together.” While the days of 2018's linear TV dominance are unlikely to return, the industry is proving resilient, adapting to new models of production and consumption.

However, the numbers tell a compelling story. In the UK, less than 50% of 16-24-year-olds now watch linear TV weekly—a stark drop from 76% in 2018, according to Ofcom. Conversely, YouTube and social media platforms are on the rise, with YouTube viewership on TV sets growing to 34% overall and 45% among 4-15-year-olds.

The Rise of the Creator Economy
As traditional broadcasters tighten budgets and lean on familiar formats, creators are seizing the opportunity to connect directly with audiences. Influencers like the Sidemen and Mr. Beast are leading this charge. The Sidemen’s Inside series, renewed for a second season on Netflix, exemplifies how creator-driven content can bridge the gap between social platforms and traditional networks.

Jordan Schwarzenberger, co-founder of Arcade Media and manager of the Sidemen, views this shift as revolutionary. “Creators are the new Hollywood,” he asserts. “We’re living through a seismic transformation in entertainment, where creators can directly engage audiences and provide value at scale.”

This creator economy is not just disrupting traditional models but redefining them. YouTube, TikTok, and emerging platforms like Drama Box are becoming incubators for new formats, including micro-dramas—concise, high-impact stories running just 1-2 minutes.

Social Media: The New Front Door to Content
Social-first strategies are now a cornerstone for producers. Shows like New Zealand’s Noob, which transitioned from TikTok to a six-part TV series, highlight the potential of social platforms as launchpads for broader success. Producers are increasingly integrating social media budgets alongside traditional production roles.

As Rachel Fawcett, producer of Noob, notes, “Social media producers should be as integral to production as the gaffer.” This strategy acknowledges the shifting discovery journey for audiences, now led by viral moments and social content rather than billboards or linear advertising.

Opportunities for Brands
Brands are also capitalizing on this shift, embedding themselves in content from its inception. Sam Glynne (UTA), explains how early collaboration ensures organic integration. “It’s not about product placement,” Glynn says. “It’s about weaving brands seamlessly into the story.”

This trend offers a lifeline for producers facing budget constraints, with brands stepping in to fund projects and reach audiences in innovative ways.

Content Trends and Global Appeal
The hunger for diverse, high-quality content remains unabated. International productions are gaining traction, with series like El Turco (Turkey) and Costiera (Italy) targeting global audiences with English-language narratives. These projects reflect a growing trend: international stories told in English to maximize reach.

Meanwhile, cosy and blue-sky crime dramas, like The Madame Blanc Mysteries, are making a comeback. Post-pandemic audiences are craving escapism, but creators/writer like Sally Lindsay emphasize the importance of strong storytelling: “It’s still got to be a good story. That’s the secret.”

The Future of Platforms
Platforms are now the primary battleground for audience attention. Silvina Maschini, CEO of Unicorns Inc., highlights the efficiency and interactivity of platforms compared to traditional TV. “TV is facing the same issue print media faced in the 2000s,” she says. “The future is in fast mobile OTT and streaming platforms.”

Yet, traditional TV isn’t obsolete. Major content providers, including Disney, Netflix, and Warner Bros. Discovery, accounted for $126 billion in content investment in 2024, signaling continued opportunities in the traditional space.

Balancing Two Economies
Evan Shapiro encapsulates the industry’s dual trajectory. “This is not an either-or scenario,” he says. “It’s about building a community online while leveraging opportunities from traditional gatekeepers.”

As creators forge direct connections with their audiences, the lines between platforms blur. Whether through micro-dramas, international productions, or creator-led series, the future of TV will hinge on adaptability, collaboration, and the willingness to embrace new possibilities.

The media landscape is evolving rapidly, but one thing remains constant: great stories will always find their audience—whether on a streaming platform, a YouTube channel, or a linear network. For producers, the challenge is not choosing sides but harnessing the best of both worlds.