The BBC’s appointment of 26-year-old entrepreneur Brandon Relph to its strategy team signals a fundamental shift in how legacy media views creators. But this isn’t just about hiring one young person. It reflects broadcasters now actively restructuring their entire approach to content, talent and IP ownership.
1. Hiring Creator-Economy Experts
Brandon Relph, who founded his first company at age 13, joined the BBC’s strategy team to help reach younger audiences increasingly choosing YouTube and TikTok creators over traditional broadcasters. Major broadcasters are recruiting people who actually understand platform algorithms, community dynamics and creator business models, not broadcast executives trying to learn.
The gap between traditional media and creator-first platforms is real. Understanding how to build and engage communities on Discord or TikTok requires different expertise than building broadcast television audiences.
2. Creating Shows for YouTube First
Broadcasters are no longer simply uploading clips from television to YouTube. They are creating original shows designed specifically for the platform, with different pacing, storytelling and monetisation models. This shift also includes investing in creator-native formats such as podcasts and video podcast collections for streaming services.
Success on YouTube requires a different approach from traditional television. Everything from video length and pacing to thumbnails and community engagement must be considered. Broadcasters are now recognising that distinction and developing content specifically for digital audiences.
3. Bringing Podcasts Into Streaming
Recently, Disney+ and Hulu announced a video podcasting deal with iHeartMedia, bringing six iHeartPodcasts titles to their platforms. The rollout begins with Hey Jonas! on 14 August. Netflix, Apple TV+ and Amazon are also investing heavily in video podcast content.
For traditional media companies, podcasts offer access to large, established audiences without the production costs associated with film or television. A show recorded in a modest studio can attract millions of listeners and viewers. By placing video podcasts alongside traditional programming, streaming platforms are positioning a creator-native format as a core part of mainstream entertainment.
4. Turning Creators Into Producers
Under the old model, broadcasters owned the shows and hired creators as on-screen talent. Now, creators are increasingly being treated as producers and equity partners, particularly when they already own the format and bring an established audience.
This marks a significant shift in power. Creators who spent years building independent platforms are no longer simply personalities to book; they are valuable production partners. As a result, negotiations increasingly cover IP ownership, revenue participation, creative control, audience access and development rights. For traditional media companies, partnering with a proven creator-led format can be quicker and less risky than developing a new concept from scratch.
5. Acquiring Creator Businesses and Infrastructure
Fox acquired Red Seat Ventures, the podcast company behind creator-led shows featuring Megyn Kelly, Tucker Carlson, Nancy Grace, Dr. Phil, Bill O’Reilly and Chris Hansen. Its 17 shows collectively generate more than 200 million monthly views, placing Red Seat among the ten largest podcast networks in the US.
Rather than developing creator-economy capabilities from scratch, traditional media companies are acquiring established networks, production businesses and monetisation platforms. Red Seat, for example, continues to operate independently within Fox’s Tubi Media Group.
This approach gives media companies immediate access to specialist infrastructure, industry relationships and proven audiences. Building that expertise internally could take years; acquiring an established business allows them to enter the market far more quickly.
What’s Changed
The old model was simple: broadcaster owns show, hires creator, pays appearance fee. The new model requires negotiating IP ownership, revenue splits, creative control, audience ownership and development rights.
Traditional media needs creators’ audiences. Creators need traditional media’s resources and reach. How that trade happens is reshaping the entire media industry. For the first time, legacy broadcasters are operating on creators’ terms rather than the other way around.
