Predictions for the year ahead and where the audience is going from execs including André Renaud at Warner Bros, James Burstall and Joe Weinstock at Argonon, Sharon Levi, MD of Yes Studios in Israel, and The Gurin Company CEO, Phil Gurin.

James Burstall, Global CEO, Argonon

What were the biggest changes in the international TV business in 2024?
We’re living in an era of perma-change; Covid-19 drove the industry years into the future and every year since has seen the sector continue to reshape and reform. Last year was no different.

Commissioning returned in 2024 for the majority of buyers but in reduced volumes and working in new ways. The importance of flexibility and dealmaking to get projects off the ground has been vital. The barriers between international production continued to fall, as projects increasingly need to appeal across global markets to get made. The year also saw the growing importance of a strong and diverse back catalogue, in an era of tighter budgets and lower profit margins, being able to fully exploit content libraries is now a crucial part of every content producer’s strategy.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
Today’s younger generation are not leaving TV to go to YouTube and other platforms, they’ve never been linear TV viewers. What is universally true is that all audiences love great content; the younger generation don’t just consume it in the same way.

As producers, increasingly we’re creating content for a range of platforms, in different shapes, forms and sizes.  We need to ensure that our content is relevant, accessible and appeals to younger audiences in a world of limitless entertainment choices.

In terms of accessibility and meeting the audience on their terms, ITV’s recently announced deal with YouTube lights the path ahead. Argonon has its own YouTube channel in Element 18 and we are in various stages of development and discussion to take content into new places, from smart TVs to social platforms to podcasts.

What will be the biggest challenges and opportunities for the industry in 2025?
Funding programmes was a challenge throughout 2024 and impacted every genre of production. Static or reduced budgets in an era of rising production costs impacts on the production chain, and particularly the freelancers working in our sector. We must work together to find solutions and bring new funding sources to the table, to get productions off the ground and people back to work.  At Argonon, coproduction is in our DNA, and we’re actively exploring innovative new ways of funding productions, which will in turn create opportunities to expand production across the group.

What are you doing to ensure your company thrives in the new content economy?
To survive and thrive in today’s fast evolving content ecology, having a nimble mindset and a flexible approach is vital, we’re constantly reassessing the market to capitalise on new opportunities. In practice, this means identifying and collaborating with new partners in fields or areas you hadn’t previously considered. It’s a willingness to identify new markets and new funding opportunities. And increasingly it’s a strategic approach of expanding your horizon across borders – to achieve success in today’s hyper-competitive production environment, an international outlook is vital.

What’s your one big prediction for the business in 2025?
In recent years, we’ve seen the value of creating major events, harnessing huge family audiences for networks and channels, and creating social buzz and talkability. With the streamers increasingly looking to bring a global perspective in the event TV space – both in sport and beyond – I expect to see this trend continue with even more ambitious projects in 2025.

What are your thoughts on AI and its implementation in the TV ecosystem
I am excited about the opportunities and potential applications of AI and other technologies to enhance our capabilities. It’s still the wild west out there and we’re super mindful of how and where we use AI across the business, as the sector eagerly awaits a wider framework of regulations. We’ll continue to keep abreast of innovations and developments.

André Renaud, global VP format and finished sales, WBITVP 

What were the biggest changes in the international TV business in 2024?
Some of the most significant changes in the last year were shaped by new streaming models, particularly the rise of ad-supported streaming. Commissioners also shifted their focus toward reality and gameshow formats, as they respond to the twin pressures of a tighter economy and changing viewer tastes. Our own content portfolio reflects this, with the launch of innovative series like 24 in 24 and Human vs Hamster, that tap into the demand for engaging and accessible entertainment.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
The industry has always needed to meet viewers where they are, and this challenge is no different. Broadcasters should continue leaning into multi-platform strategies that include spaces outside of their own ecosystem like YouTube, not just as a promotional tool but as a genuine extension of their brand. Bespoke, original content designed for these platforms is critical as it’s not enough to only post clips anymore. By creating meaningful engagement in these spaces, you can entice viewers back to your service. Equally, putting full episodes and series on YouTube is something content owners are also now doing to revitalise brands. In the UK, channels have found new audiences for established content by doing this with their long-running scripted and reality series. If you don’t start to seriously think about the opportunities available for engagement with YouTube, you risk losing an entire generation who may never come to know your brand or the great content that lives there.

What will be the biggest challenges and opportunities for the industry in 2025?
The financial crunch that has affected the industry won’t disappear overnight – it will continue to ripple through 2025. This means we’ll need to remain open-minded about how we build our businesses and share our ideas. Opportunities will come from smarter collaborations, like co-developing and co-producing ideas, as well as being strategic about acquired IP and the different ways it can be monetised. Formats, for example, both unscripted and scripted, offer a way to entertain and tell great local stories in a fraction of the time and cost of traditional development – and that’s a space commissioners can benefit from exploring further.

What are you doing to ensure your company thrives in the new content economy?
Engaging with it! Reality series like The Bachelor, Reality Queens of the Jungle, and Who Wants to Marry My Son? were the precursor to what we now call the new content economy, launching the careers of early influencers who inspired today’s content creators. It’s fitting that the cycle has come full circle, with the major influencers driving this space now participating in new seasons of these iconic shows. This not only brings fresh audiences to platforms but also gives this talent access to viewers they might not typically reach. What’s exciting is how this approach continues to evolve, as these content creators bridge both worlds by participating in new episodes of franchise series and introducing new audiences to linear and streaming platforms.

At the same time, we continue to innovate for our core television audiences by reimagining some of Warner Bros International Television Production incredible IP. The Golden Bachelor is a great example of this. By exploring the journey of finding love later in life, we’ve extended a well-loved brand to resonate with new demographics, while engaging audiences across linear TV, social media, and streaming. This ensures that we continue to delivering content to all audiences, wherever they are.

What’s your one big prediction for the business in 2025?
Reality’s rise will continue as commissioners look for ways to connect with audiences while maintaining cost-effective production. What will be particularly exciting is how we see IP being used in new ways. Series like Harry Potter: Wizards of Baking and Fast Friends show how beloved brands can evolve into entirely new experiences. This approach offers audiences fresh ways to connect with the stories and worlds they love while ensuring those formats feel relevant and exciting for the platforms hosting them.

What are your thoughts on AI and its implementation in the TV ecosystem?
AI isn’t new to our industry – it’s been quietly present in tools like green screens and digital enhancement for decades. What’s new is the conversation around how it might shape creativity and individuality. Personally, I think it’s an exciting tool, but the challenge will be maintaining the human touch in storytelling. Audiences will have limited tolerance for overly automated content, and we’ll need to avoid the ‘uncanny valley’ effect. Used wisely, though, AI should enhance the creative process without replacing it.

Sharon Levi, MD, Yes Studios 

What were the biggest changes in the international TV business in 2024?
Firstly, budgets have decreased, so we are all looking for creative financing solutions and collaborations to save costs on production. Secondly, the US market has become markedly smaller: we are left with only a handful of potential buyers for scripted now, with a big focus on streamers such as Amazon, Netflix, Apple, Hulu…a nd to some extent Peacock, Max. And finally, AI, AI and AI. Everyone is learning how to implement the tools to save costs.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
We need to work with the YouTube beast, not fight it, by creating content that could live on this platform and benefit from ad revenue using upcoming YA and fresh talents that appeal to this audience.

What will be the biggest challenges and opportunities for the industry in 2025?
Simplifying. From a production perspective – collaborating where it makes sense, coming up with creative ways to produce more cost-effectively.

Distribution wise – going back to basics. Talking with the individual broadcasters in each territory, understanding the needs and targeting specifically and not just on a global level. There are more than a handful of buyers out there, it requires legwork and patience.

Format business – realising the potential in this field, especially for scripted formats and running the marathon.

AI implementation – there will be an ongoing challenge to use the tools effectively without damaging creativity

What are you doing to ensure your company thrives in the new content economy?
With the risk of sounding like a cliché – questioning everything we’ve been doing and reevaluating our strategies and plans for the upcoming years.

Taking on new challenges, including representing international third-party content for the first time, exploring new genres and working with new platforms in new territories that haven’t been on our radar before.

What’s your one big prediction for the business in 2025?
Consolidations! More mergers and acquisitions of streamers, distributors and producers.

Joe Weinstock CEO, Argonon USA and CEO, Rose Rock Entertainment

What were the biggest changes in the international TV business in 2024?
From the US perspective, our market has become increasingly outward facing. We’re actively looking to international markets to do more co-production and distribution deals and look to attract interest and money in the format from overseas. This in turn, enables us to come back to the table in the US with a pot commitment. Three years ago, the streamers and buyers in the US wanted to hold onto every right, now the bottom line is the bottom line. Delivering a high-quality series where the network’s budget commitments are lower is a win for everybody.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
Talk to your kids – understand what they are watching, who they are following and what are they reading. Producers need to be inquisitive and try to understand the influences that shape their world. The streamers are highly focused on these audiences and producers need to respond to the opportunities. 

What will be the biggest challenges and opportunities for the industry in 2025?
The biggest challenge is getting original programs made. Legacy shows have the most opportunity in 2025 because there’s a comfort to a show where audiences already have a degree of familiarity. Original IP is more difficult to get off the ground as commissioners are looking for baked-in eyeballs. Producers need to consider if there is an IP attached, an in-built audience or a talent with extensive reach that will add to the appeal – many factors will enhance the possibility of getting a green light.

What are you doing to ensure your company thrives in the new content economy?
We’re looking at opportunities to get creative in the dealmaking process. Nothing is the same any longer, all deals are different, whether that’s bringing in a brand, distributor or a partner – we must look at all those options to get content off the ground.

What’s your one big prediction for the business in 2025?
After what we’ve all endured in 2024, things can only get better!

What are your thoughts on AI and its implementation in the TV ecosystem?
In the US, we cannot use AI for any content that goes on air, but the team is regularly using, learning and playing with AI tools in non-client development as we explore ways of being more productive, and free up valuable time to focus on the creative. This is fast-evolving technology and we’ll continue to closely track developments from content buyers and regulators.

Phil Gurin, president & CEO, The Gurin Company

What were the biggest changes in the international TV business in 2024?
The continuing consolidation of the global entertainment giants – the GEGs – coupled with the rapidly shifting viewing habits of the younger generations has led to the swift reallocation of ad dollars and the shrinking of the overall need for content. We simply don’t need as many companies to make fewer programs. Is it survival of the fittest, or survival of the nimblest, or simply survival of the GEGs? If so, you better be part of one or figure out something else to do!

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
Great storytelling, whether scripted or unscripted, will always find a way. The relevance is still there. It’s just too many choices and the feeling that everything is all so disposable that makes it feel hopeless. There is not a scarcity of content, and it comes so quickly and rapidly, that few things get to stick around for discussion or stick around in our collective consciousness. A culling of companies and content can perhaps make things more valuable again to the viewer and to the companies. Programming to niche markets may sound great, but then very little seems special anymore.

What will be the biggest challenges and opportunities for the industry in 2025?
Stay lean, stay nimble, stay flexible, stay humble. Arrogance in deals will destroy a company since there is always someone else who will do the same job. Maybe not as well, but certainly for less, and in this brave new world of too much content will it really matter to the bottom line of the GEGs?

What are you doing to ensure your company thrives in the new content economy?
We have diversified our content development; we increasingly partner for creation and production; we expanded into global distribution and acquisition to offer an alternative to the GEGs; we focus on big tent, big ideas, with big talent and big brands. And we’ve checked our expectations at the door. Don’t expect what was to ever come back and you won’t be doomed to disappointment.

What’s your one big prediction for the business in 2025?
The algorithms will continue to be the enemy. People are trapped in their entertainment and information ghettos because of the algorithms, making randomness, chance, discovery and surprise a thing of the past. Fight the algorithms! Stay creatively independent!  Don’t be entertainment sheep!

What are your thoughts on AI and its implementation in the TV ecosystem?
We’re all f*cked.

Predictions for the year ahead and where the audience is going from execs including André Renaud at Warner Bros, James Burstall and Joe Weinstock at Argonon, Sharon Levi, MD of Yes Studios in Israel, and The Gurin Company CEO, Phil Gurin.

James Burstall, Global CEO, Argonon

What were the biggest changes in the international TV business in 2024?
We’re living in an era of perma-change; Covid-19 drove the industry years into the future and every year since has seen the sector continue to reshape and reform. Last year was no different.

Commissioning returned in 2024 for the majority of buyers but in reduced volumes and working in new ways. The importance of flexibility and dealmaking to get projects off the ground has been vital. The barriers between international production continued to fall, as projects increasingly need to appeal across global markets to get made. The year also saw the growing importance of a strong and diverse back catalogue, in an era of tighter budgets and lower profit margins, being able to fully exploit content libraries is now a crucial part of every content producer’s strategy.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
Today’s younger generation are not leaving TV to go to YouTube and other platforms, they’ve never been linear TV viewers. What is universally true is that all audiences love great content; the younger generation don’t just consume it in the same way.

As producers, increasingly we’re creating content for a range of platforms, in different shapes, forms and sizes.  We need to ensure that our content is relevant, accessible and appeals to younger audiences in a world of limitless entertainment choices.

In terms of accessibility and meeting the audience on their terms, ITV’s recently announced deal with YouTube lights the path ahead. Argonon has its own YouTube channel in Element 18 and we are in various stages of development and discussion to take content into new places, from smart TVs to social platforms to podcasts.

What will be the biggest challenges and opportunities for the industry in 2025?
Funding programmes was a challenge throughout 2024 and impacted every genre of production. Static or reduced budgets in an era of rising production costs impacts on the production chain, and particularly the freelancers working in our sector. We must work together to find solutions and bring new funding sources to the table, to get productions off the ground and people back to work.  At Argonon, coproduction is in our DNA, and we’re actively exploring innovative new ways of funding productions, which will in turn create opportunities to expand production across the group.

What are you doing to ensure your company thrives in the new content economy?
To survive and thrive in today’s fast evolving content ecology, having a nimble mindset and a flexible approach is vital, we’re constantly reassessing the market to capitalise on new opportunities. In practice, this means identifying and collaborating with new partners in fields or areas you hadn’t previously considered. It’s a willingness to identify new markets and new funding opportunities. And increasingly it’s a strategic approach of expanding your horizon across borders – to achieve success in today’s hyper-competitive production environment, an international outlook is vital.

What’s your one big prediction for the business in 2025?
In recent years, we’ve seen the value of creating major events, harnessing huge family audiences for networks and channels, and creating social buzz and talkability. With the streamers increasingly looking to bring a global perspective in the event TV space – both in sport and beyond – I expect to see this trend continue with even more ambitious projects in 2025.

What are your thoughts on AI and its implementation in the TV ecosystem
I am excited about the opportunities and potential applications of AI and other technologies to enhance our capabilities. It’s still the wild west out there and we’re super mindful of how and where we use AI across the business, as the sector eagerly awaits a wider framework of regulations. We’ll continue to keep abreast of innovations and developments.

André Renaud, global VP format and finished sales, WBITVP 

What were the biggest changes in the international TV business in 2024?
Some of the most significant changes in the last year were shaped by new streaming models, particularly the rise of ad-supported streaming. Commissioners also shifted their focus toward reality and gameshow formats, as they respond to the twin pressures of a tighter economy and changing viewer tastes. Our own content portfolio reflects this, with the launch of innovative series like 24 in 24 and Human vs Hamster, that tap into the demand for engaging and accessible entertainment.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
The industry has always needed to meet viewers where they are, and this challenge is no different. Broadcasters should continue leaning into multi-platform strategies that include spaces outside of their own ecosystem like YouTube, not just as a promotional tool but as a genuine extension of their brand. Bespoke, original content designed for these platforms is critical as it’s not enough to only post clips anymore. By creating meaningful engagement in these spaces, you can entice viewers back to your service. Equally, putting full episodes and series on YouTube is something content owners are also now doing to revitalise brands. In the UK, channels have found new audiences for established content by doing this with their long-running scripted and reality series. If you don’t start to seriously think about the opportunities available for engagement with YouTube, you risk losing an entire generation who may never come to know your brand or the great content that lives there.

What will be the biggest challenges and opportunities for the industry in 2025?
The financial crunch that has affected the industry won’t disappear overnight – it will continue to ripple through 2025. This means we’ll need to remain open-minded about how we build our businesses and share our ideas. Opportunities will come from smarter collaborations, like co-developing and co-producing ideas, as well as being strategic about acquired IP and the different ways it can be monetised. Formats, for example, both unscripted and scripted, offer a way to entertain and tell great local stories in a fraction of the time and cost of traditional development – and that’s a space commissioners can benefit from exploring further.

What are you doing to ensure your company thrives in the new content economy?
Engaging with it! Reality series like The Bachelor, Reality Queens of the Jungle, and Who Wants to Marry My Son? were the precursor to what we now call the new content economy, launching the careers of early influencers who inspired today’s content creators. It’s fitting that the cycle has come full circle, with the major influencers driving this space now participating in new seasons of these iconic shows. This not only brings fresh audiences to platforms but also gives this talent access to viewers they might not typically reach. What’s exciting is how this approach continues to evolve, as these content creators bridge both worlds by participating in new episodes of franchise series and introducing new audiences to linear and streaming platforms.

At the same time, we continue to innovate for our core television audiences by reimagining some of Warner Bros International Television Production incredible IP. The Golden Bachelor is a great example of this. By exploring the journey of finding love later in life, we’ve extended a well-loved brand to resonate with new demographics, while engaging audiences across linear TV, social media, and streaming. This ensures that we continue to delivering content to all audiences, wherever they are.

What’s your one big prediction for the business in 2025?
Reality’s rise will continue as commissioners look for ways to connect with audiences while maintaining cost-effective production. What will be particularly exciting is how we see IP being used in new ways. Series like Harry Potter: Wizards of Baking and Fast Friends show how beloved brands can evolve into entirely new experiences. This approach offers audiences fresh ways to connect with the stories and worlds they love while ensuring those formats feel relevant and exciting for the platforms hosting them.

What are your thoughts on AI and its implementation in the TV ecosystem?
AI isn’t new to our industry – it’s been quietly present in tools like green screens and digital enhancement for decades. What’s new is the conversation around how it might shape creativity and individuality. Personally, I think it’s an exciting tool, but the challenge will be maintaining the human touch in storytelling. Audiences will have limited tolerance for overly automated content, and we’ll need to avoid the ‘uncanny valley’ effect. Used wisely, though, AI should enhance the creative process without replacing it.

Sharon Levi, MD, Yes Studios 

What were the biggest changes in the international TV business in 2024?
Firstly, budgets have decreased, so we are all looking for creative financing solutions and collaborations to save costs on production. Secondly, the US market has become markedly smaller: we are left with only a handful of potential buyers for scripted now, with a big focus on streamers such as Amazon, Netflix, Apple, Hulu…a nd to some extent Peacock, Max. And finally, AI, AI and AI. Everyone is learning how to implement the tools to save costs.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
We need to work with the YouTube beast, not fight it, by creating content that could live on this platform and benefit from ad revenue using upcoming YA and fresh talents that appeal to this audience.

What will be the biggest challenges and opportunities for the industry in 2025?
Simplifying. From a production perspective – collaborating where it makes sense, coming up with creative ways to produce more cost-effectively.

Distribution wise – going back to basics. Talking with the individual broadcasters in each territory, understanding the needs and targeting specifically and not just on a global level. There are more than a handful of buyers out there, it requires legwork and patience.

Format business – realising the potential in this field, especially for scripted formats and running the marathon.

AI implementation – there will be an ongoing challenge to use the tools effectively without damaging creativity

What are you doing to ensure your company thrives in the new content economy?
With the risk of sounding like a cliché – questioning everything we’ve been doing and reevaluating our strategies and plans for the upcoming years.

Taking on new challenges, including representing international third-party content for the first time, exploring new genres and working with new platforms in new territories that haven’t been on our radar before.

What’s your one big prediction for the business in 2025?
Consolidations! More mergers and acquisitions of streamers, distributors and producers.

Joe Weinstock CEO, Argonon USA and CEO, Rose Rock Entertainment

What were the biggest changes in the international TV business in 2024?
From the US perspective, our market has become increasingly outward facing. We’re actively looking to international markets to do more co-production and distribution deals and look to attract interest and money in the format from overseas. This in turn, enables us to come back to the table in the US with a pot commitment. Three years ago, the streamers and buyers in the US wanted to hold onto every right, now the bottom line is the bottom line. Delivering a high-quality series where the network’s budget commitments are lower is a win for everybody.

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
Talk to your kids – understand what they are watching, who they are following and what are they reading. Producers need to be inquisitive and try to understand the influences that shape their world. The streamers are highly focused on these audiences and producers need to respond to the opportunities. 

What will be the biggest challenges and opportunities for the industry in 2025?
The biggest challenge is getting original programs made. Legacy shows have the most opportunity in 2025 because there’s a comfort to a show where audiences already have a degree of familiarity. Original IP is more difficult to get off the ground as commissioners are looking for baked-in eyeballs. Producers need to consider if there is an IP attached, an in-built audience or a talent with extensive reach that will add to the appeal – many factors will enhance the possibility of getting a green light.

What are you doing to ensure your company thrives in the new content economy?
We’re looking at opportunities to get creative in the dealmaking process. Nothing is the same any longer, all deals are different, whether that’s bringing in a brand, distributor or a partner – we must look at all those options to get content off the ground.

What’s your one big prediction for the business in 2025?
After what we’ve all endured in 2024, things can only get better!

What are your thoughts on AI and its implementation in the TV ecosystem?
In the US, we cannot use AI for any content that goes on air, but the team is regularly using, learning and playing with AI tools in non-client development as we explore ways of being more productive, and free up valuable time to focus on the creative. This is fast-evolving technology and we’ll continue to closely track developments from content buyers and regulators.

Phil Gurin, president & CEO, The Gurin Company

What were the biggest changes in the international TV business in 2024?
The continuing consolidation of the global entertainment giants – the GEGs – coupled with the rapidly shifting viewing habits of the younger generations has led to the swift reallocation of ad dollars and the shrinking of the overall need for content. We simply don’t need as many companies to make fewer programs. Is it survival of the fittest, or survival of the nimblest, or simply survival of the GEGs? If so, you better be part of one or figure out something else to do!

There’s a lot of talk about younger viewers straying to YouTube and elsewhere. What does TV need to do to respond and remain relevant?
Great storytelling, whether scripted or unscripted, will always find a way. The relevance is still there. It’s just too many choices and the feeling that everything is all so disposable that makes it feel hopeless. There is not a scarcity of content, and it comes so quickly and rapidly, that few things get to stick around for discussion or stick around in our collective consciousness. A culling of companies and content can perhaps make things more valuable again to the viewer and to the companies. Programming to niche markets may sound great, but then very little seems special anymore.

What will be the biggest challenges and opportunities for the industry in 2025?
Stay lean, stay nimble, stay flexible, stay humble. Arrogance in deals will destroy a company since there is always someone else who will do the same job. Maybe not as well, but certainly for less, and in this brave new world of too much content will it really matter to the bottom line of the GEGs?

What are you doing to ensure your company thrives in the new content economy?
We have diversified our content development; we increasingly partner for creation and production; we expanded into global distribution and acquisition to offer an alternative to the GEGs; we focus on big tent, big ideas, with big talent and big brands. And we’ve checked our expectations at the door. Don’t expect what was to ever come back and you won’t be doomed to disappointment.

What’s your one big prediction for the business in 2025?
The algorithms will continue to be the enemy. People are trapped in their entertainment and information ghettos because of the algorithms, making randomness, chance, discovery and surprise a thing of the past. Fight the algorithms! Stay creatively independent!  Don’t be entertainment sheep!

What are your thoughts on AI and its implementation in the TV ecosystem?
We’re all f*cked.