Distribution in Focus: WBITVP’s Andre Renaud

With buyers flocking to London TV Screenings and Mip London this week, Broadcast International speaks to Warner Bros International TV Productions’ Andre Renaud about cost-effective demands from buyers and why shared windows will beconme increasingly prevalent.

The distribution sector is content-strained, but appetite rich. The landscape in 2024 really highlighted a demarcation between what genres broadcasters had to have through local content, and which were more relevant for acquired. Reality series, for example, continue to grow in local commissioning, as we’ve seen in local versions of our format Reality Queens of the Jungle, which has now launched in Germany, Poland, and India alongside the original series in the Netherlands. And tape sales of fact ent series, as well as lighter comedic content grew (for us this is series like The Repair Shop or Impractical Jokers). The vibrancy is there and people are hungry for new content, and it is starting to feel like commissioners are looking more actively for new ideas to compliment the hits they already have.

The financial squeeze on the media industry remains a hard challenge for everyone, making efficiency and adaptability key in 2025. Formats – both scripted and unscripted – still offer a smart, cost-effective way to deliver proven storytelling with local appeal, reducing the costs of traditional development. But success isn’t just about what gets made, it’s about where audiences are watching. With platforms like YouTube now central to global content consumption, the industry needs to rethink how it integrates digital alongside traditional distribution, embracing hybrid models that allow IP to thrive across TV, streaming, and online ecosystems. The challenge is clear: how do we create content that’s both financially sustainable and built for the way people consume entertainment today? Once we unlock this, we’ll all be able to benefit from the global creative network.

It’s interesting to see how distributors are extending the value of content beyond traditional models. As global streamers refine their acquisition strategies, the growth of FAST channels, AVOD, and premium transactional services is opening up new ways to monetise IP. Finding the right balance between exclusivity and long-term value is becoming more important, and tapping into that feels important. At the same time, there’s growing demand for content that connects with audiences beyond the core show, whether through companion digital experiences, live extensions, or interactive elements. Exploring how these opportunities complement traditional models could unlock new revenue streams.

At their core, conversations remain similar, but buyers are increasingly focused on the ‘reason to believe’ in their content acquisition and why it will work for their audience. Some are taking a more data-driven approach, focusing on content with clear audience traction and commercial viability. Others are looking at long-term value over short-term hype, considering how something can work across their full ecosystem from linear to on demand, and even social media. Budget scrutiny has definitely intensified, so content that is cost-efficient, scalable, and adaptable to multiple platforms is more important than ever.

WBITVP has seen great success in leveraging established IP in new and creative ways, from brand extensions to regional adaptations. Global brands like First Dates continue to evolve, with First Dates: Beach Club offering a fresh way to engage audiences with the well-loved franchise. This trend of familiar IP expanding beyond its original form allows audiences to connect with beloved worlds in unexpected and entertaining ways. Harry Potter: Wizards of Baking is a perfect example of how iconic brands can transform into entirely new experiences, extending the appointment-to-view for global fans and delivering fresh excitement to audiences worldwide.

Global streamers have long been engaged in bringing scripted series to the world. In some markets, they have become the clear home for scripted when traditional linear commissioners found their budgets squeezed. The models now seem to vary a bit more, as streamers have clarified and refined their scripted strategies alongside their unscripted strategies. You’ll see more shared windows, streamers are also licensing out their original content after appropriate windows, while still investing in exclusive originals. We see this ourselves in the commissioning of new content – particularly in our own production regions -  where streamers are keen on finding hyper-local stories that can also travel. I’m confident that this will continue, with streamers remaining another key avenue for pitching new ideas, complimenting the content commissioning strategies of traditional linear networks.