Web3 Sports Ventures

Consultant - Fan Engagement and Media Strategy

Creating strategies to support the growth of IP, from platform analysis, narrative design (including animation development) and ways to leverage new technology and communities to scale viewing, play and purchase. 

Building business models for the future based on data and insight about how next generations engage with, and value, media. 

My hypothesis is that the next generation of billion-dollar IP will be borne from UGC platforms.

Independent Media Consultant

Wind Sun Sky Entertainment

Developing a new slate of IP in animation and games. Won the MIPJUNIOR pitch competition with The Adventures of Team POM from 130 entries. Overseeing content strategy and marketing of existing properties.

Managing Director

Consulting on platform strategy on existing IP, Future Chicken. Developing strategies for new IP across YouTube and social gaming (Roblox) and long term models to build towards monetisation and licensing.

Strategic Consultant

24 Watts

Startup. Led platform & content strategy for new IP within startup backed by senior industry execs. Responsible for cross-platform content planning, creative direction, audience growth with the aim of generating revenue for digital-first brands rooted in entertainment & tech. 
Exec Producer, Cozmo & Friends.

Global Head of Content

Head of Brand delivering to the BBC’s commercial strategy for Children's & Education – driving reach and revenue through partnerships, licensing and marketing. Developed new income streams such as live events and consumer products for previously unexploited BBC Children’s & Education brands whilst maintaining the quality experience synonymous with the BBC no matter what the product or platform.
I also got to hang out with Big Bird.

BBC Children’s & Education

Consultancy to clients including Universal Pictures International to create multi-territory promotional programmes to support major theatrical releases. 

Managed promotions with P&G Europe (Kong on Pringles) and Maxell Europe (Mission: Impossible 3) amongst others. 
Went to the M:I3 London premiere, yes Tom Cruise is short.

Media Consultant - International promotions

Managed strategy and relationships with international TV affiliates, developing communications campaigns to increase the Pay-Per-View buys. Commissioned international research with Millward Brown on perceptions of WWE brand and its core appeal across platforms and categories within Europe. 
Also drank Jack Daniels with John Cena.

International Marketing Manager

The Walt Disney Company

Marketing Manager - Branded Television

Contender Entertainment Group

Group Marketing Manager

Managing Director | Content and Platform strategy for brands on Roblox, YouTube, TikTok | Host of Kids Media Club Podcast | Exec Producer Cozmo & Friends | Gamer, Sport lover, AI user

Senior leader in content and platform strategy for IP, brands and rights holders aiming to engage Gen Z and A across digital platforms - Social Gaming (Roblox), YouTube, TikTok and broadcast. 

Experienced in developing brand positioning, world-building & strategic opportunities for IP to scale in the transmedia age - leveraging platforms, communities, emerging tech, AI.

Creator of responsive, evolving strategies that span digital x physical lives and behaviours. 

Exec Producer of Cozmo & Friends YouTube series and Roblox experience. 

I also co-host the Kids Media Club podcast, where I share insights on trends in youth media.

Reaching younger demos is trickier than ever, hence being data-driven and insight-led, I support IP and rights holders to predict how younger generations will interact with content in the future and use it to develop strategic opportunities right now. 

IP and rights owners that embrace how young people use technology  and value content WILL have competitive advantage.

Previously worked with Peppa Pig, Disney Junior, WWE and the CBeebies portfolio in the UK including the award-winning CBeebiesLand theme park and Hotel.

Strengths:
• Driving engagement cross-platform for audience and revenue growth. 
• Pragmatic with a holistic approach to planning, data & insight.
• Forging successful and high performing relationships.

@jojoredferno on X

Feels like Netflix its moving out of its experimentation phase into building a long-term sports portfolio, and it's looking interesting. Latest to join is Gary Lineker’s The Rest Is Football which will be hosted daily during the '26 World Cup. It's a multimillion-pound arrangement that puts him and his podcast IP onto the global streamer for scheduled live-event coverage. 

Take that BBC.

Per the Times: “It’s Netflix’s first real foray into football coverage, with a daily show built around the podcast. This will also introduce Gary to a whole new international audience. Netflix first approached his company a few months ago, and his son, Harry, will also be joining Stateside as he’s a producer, so it’ll be a real family affair.”

Also worth noting is Netflix hiring its FIRST full-time sports personality - Elle Duncan from ESPN - which is another hint about where the streamer is heading with its sports strategy, even if the company isn't saying directly.

It's interesting how again we're seeing talent as a rights accelerator. Streaming platforms are circumventing huge tickets to acquire presenter IP and eventised packages as a lower-cost entry into sports distribution. Makes you wonder if rights owners and agencies should price and licence presenter talent separately from match rights.

Jo Redfern

Leader in media, specialising in strategy for brands that entertain and educate - particularly across social gaming (Roblox/Fortnite) YouTube, TikTok and broadcast.

Significant experience in brand positioning, world-building & strategic opportunities tor IP to scale in the new entertainment age - leveraging platforms, tech and the emerging metaverse.

Exec Producer of Cozmo & Friends (on Roblox, YouTube, TikTok) and co-host of the Kids Media Club podcast.

My passion is to create and grow compelling brands that reach young people wherever they are - which means a strategy that spans their digital and physical lives. 

Great content for young people has impact, it sparks their imaginations and enriches, but reaching them is trickier than ever.

By being data-driven and insight-led, my aim is to predict how children will interact with content in the future and use it to develop strategic opportunities for IP right now. Content brands that plan for Metaverse WILL have competitive advantage. 

Previous experience with brands such as Peppa Pig, Disney Junior, WWE and the CBeebies portfolio in the UK including the award-winning CBeebiesLand theme park and Hotel.

Strengths:
• Driving engagement cross/platform for audience and revenue growth. 
• Pragmatic with a holistic approach to planning, data & insight.
• Forging successful relationships, I like people and believe working together should be fun. 
It’s kids media afterall…

@jojoredferno on Twitter

Founder, youth media consultancy across Roblox, YouTube, TikTok | Engagement and monetisation strategy for Sports & Entertainment | Podcast host and Speaker | former Animation Producer | ex BBC

I'm delighted to be a judge at the Sport Industry Awards, as it racks up its quarter century! And it's never been a more pivotal time. 

Entries are now open, the deadline for submissions is December 4 - find more info about how to enter in comments. I'm looking forward to seeing first hand the best that the sports industry has to offer at the judging sessions.

There’s huge opportunity for kids media and sport to work closer, so Amanda Evans and I are at Broadcast Sport Summit to talk about animation, and our soon-to-be announced sports Roblox project. If you’re at the Emirates today let’s have a chat! 

#BSportSummit

Youth media strategy for Roblox, YouTube | Engagement and monetisation in Sports & Entertainment | Podcast host and Speaker | former Animation Producer | ex BBC

I'm excited to be pulling this together with the WorldBuilder team. Save the date: April 23rd 2026, West Hollywood. From Roblox to Fortnite, Rec Room, Zepeto and beyond - creators are building the experiences, characters and businesses that will define the next era of entertainment. 

This is the future of IP.

WorldBuilders will be the ones breathing new life into existing franchises and creating entirely new ones. We're hosting a dedicated event where media, producers, investors and brand owners can come together to collaborate, share knowledge and make stuff happen. Interested in joining us? Sign up for more info or tickets via the link in comments.

Takeaways below from d1 of SportsPro Media, looking forward to today's YouTube Forum and my chat with Sergio Lopes about CazéTV and Livemode. 

BBC Sport's Alex Kay-Jelski was refreshingly candid: "It's unrealistic to expect YouTube-first consumers to sign in to iPlayer the next day." The BBC is relaunching football with an acceptance that YouTube-native distribution is a long-term play towards funnelling audiences towards their platforms. He spoke about being "reactive and joined up" with strategy and storytelling. 

TikTok's prominence in sports surprised me. Sports is a huge content category with 60 million different accounts posting sports content, 5 million daily posts labelled sports and 19 of the top 25 publishers are sports related. We've long know TikTok is a essential discovery for social-first fans but the scale is bigger than many realise. 

Further fragmentation of rights. Minal Modha made the point during Streamtime Sport's panel about the 'eventisation' trend in sports, and Champions League packages signals the next revenue evolution. Nick pointed out that pan-European deals may cause territory tension with broadcast. And that's not to mention the fans who look set to have to use several platforms to follow games. 

Amazon's 11-year NBA deal represents the "first truly global deal" for Prime Video. Matt Brabants emphasised that the NBA wanted a partner with "scale but also a local approach" including language localisation suggesting global rights deals now require local execution capabilities as table stakes.

Creator partnerships as distribution. Serie A's Anna Guarnerio discussed their tri-party agreement with ESPN and CazéTV explicitly designed to reach new audiences and funnel to broadcast. This validates creators as legitimate broadcast partners, not just social amplification. Great to see and a hot topic for our YouTube sessions today. 

Overall: it's great to see acknowledgment of the shift. Social platform distribution can no longer be considered simply a marketing channel, it's primary consumption for many. Trad broadcasters must either become platform-native (BBC's approach), partner with creators for cultural credibility (Serie A) or adopt alternative strategies to compete with platform behaviours and economics (Champions League packages). 

Are we finally seeing digital distribution as the core product, and not a derivative of broadcast?

Nick Meacham Minal Modha Paola Marinone Sergio Lopes SportsPro Alex Kay-Jelski 🏳️‍🌈 Matt B. Anna Guarnerio

For a long time they built dominance without owning a studio but of late it’s clear that Netflix needed to acquire Hollywood heritage. If the deal goes through they get a century’s worth of premium IP from HBO prestige dramas to DC, Harry Potter, Friends and even good old Looney Tunes (it always comes back to owning valuable IP right?).

It’ll be messy no doubt, letters alleging a ‘tainted’ process are already filed and red flags being raised by creators about their work becoming Netflixified - meaning minuscule theatrical windows, commissioning by algorithm and premature cancellations. 

Get your popcorn.

Sky Sports tried to speak woman on TikTok, and it went down like a cup of cold puke. So let's have a look at why, so that others may not make a similar mistake. 

In no particular order:

They treated women who like sport as an aesthetic, not an audience 💅🏼 

I mean; the pink neon font, captions like 'hot girl walks' and 'matcha', and heart emoji filters. Is this a channel for women who like sport or a Pinterest board?

Nielsen says 74% of women sports fans say they want more expert analysis, proper storytelling and parity in tone. Hmmm.  

📈 Depending on who you believe, women's sport and women sport fans, are a growth area - but Sky misread it. They decided that women sport fans are a niche that needs a cute "lil sister" channel (thankfully the description has been removed) when female sport fans would prefer competence. 

Straining for relevance but ending up at parody isn't a good look. 

👀 Where did the tone of voice come from? Was it *really* derived from community signals and research? Be honest Sky. Young audiences (the MOST media-literate generation ever) can smell boardroom immediately. The use of rizzing in a caption made my teeth curl. 

Top tip: youth culture cosplay is the fastest way to draw backlash (insert "How do you do, fellow kids?" meme here). 

📺 Lastly, Sky Sports already has an identity, albeit one that comes with men's sport baggage. It is what it is. Acknowledge it and then figure out how to elevate female athletes and serve women sport fans better with existing editorial. 

Launching Sky Sports Halo without main editorial change feels like you've just bought a fluffy rug and put up pink curtains. Female sports fans like rivalries, skill and achievement too, according to a 2024 YPulse survey.

If there are lessons from this for those trying to win new, female audiences - just don't try too hard, forget the all-pink palette and partner with someone that already does it well. 

At least it got us talking eh?

Media is a vital part of the value chain but when the youngest fans value it in a different way, how the heck do we start to finance, produce and distribute content that will deliver fandom, brand building and revenues for years to come?

I've been thinking about it in terms of an equation, and the generous folks at OTTRED and RedHolt allowed me to take my theory for a spin in a webinar for the community. Below is a snapshot of what we discussed:

For a long time the value equation was relatively simple: Quality + Distribution + Brand power = Value. On the whole, broadcast set the standard. Exclusivity commanded a premium, and IP owners held all the cards. The fans/audience had little sway in that mix, with the 'where, when and how' decided for them. 

Gen Alpha go by new rules entirely. Their value equation is built on Relevance + Native + Trust + Participation − Friction. 

At least that’s my version, here is how I break it down:

Relevance is earned over time, you can't assume it. Legacy sports media still leans on heritage and makes decisions based on the habits of older generations - but when 88% of Gen Z say authenticity matters more than polish we can assume that for Gen A a 50-year broadcast-first legacy means squat. They want access, connection and will tolerate rough edges if it feels real.

Native means made-for, not repurposed. The biggest blind spot is thinking that multi-platform means pushing the same content across every channel. Gen A can smell repurposed content instantly, because they're fluent in media. They live across platforms where content, communication, play and purchase blur together. Roblox hit 151 million daily active users in Q3, so you're not going to win the battle for attention by being silent or by forcing them elsewhere. You need to show up everywhere and compete for belonging.

Trust is key. Gen A trust creators over celebrities and corporates. They often feel closer to a creator streaming from home than to a million-dollar campaign. As I heard from Sergio of Livemode last week, the brand partnerships that work best for CazéTV and brands are the ones that allow them creative control.

Participation is the new premium. Gen A creates, comments and shares, they aren't passive. If they can't respond or take part with media you've lost them. Content is no longer one-way, it's collaboration.

Friction is the minus part of the equation. Paywalls. Geoblocks. Controlled messaging. Anything that restricts, slows or over-controls their media experience erodes value. The younger your audience, the faster they bounce.

NielsenIQ projects that Gen Z spending power will grow to US$12 trillion by 2030. It's now the job of sports IP owners to understand that content is changing, media value is changing and plan accordingly. Gen A is watching. 

This framework was developed as part of ongoing research into generational media behaviours and the future of content strategy. Want to know more? Let me know.

It's a recurring thought that in 10 years, social-first sports will have replaced those wedded to legacy formats amongst Gen A. By the time they reach their mid-twenties, sports like rugby may be all but dead to them. Harsh? Perhaps. But increasingly likely unless things change.

When Gen Z spends less than 20% of their sports time watching live (Ampere 2024) and 90+% consume via social (Deloitte) you've got to wonder why the issue doesn't seem more pressing. I don't believe young fans are allergic to sport, but they are averse to how it's being presented.

I think a lot about the ones that understand it best. My fave, Savannah Bananas, Baller League and FIBA 3x3 (2.6m to 8m social followers in three years) think in terms of a product engineered for social and entertainment, not season-long commitments to broadcast. I get that you can't simply jettison what is, but when there are 20-minute lulls in play, don't expect young people not to take their attention elsewhere.

What they want is competition and athelticism played out in smaller units, with rulesets that are highlight-friendly, and with added storylines. 

What sports is fighting here is the 'Spark-Stoke-Reward' content model YouTube creators perfected and which I spoke about on the OTTRED session this week. 
- Hook interest in 2 seconds
- Maintain attention with active content
- Deliver payoff/drama - and cycle through it again and again.
When boring play breaks the cycle, young audiences leave. Legacy sports relies on the habits of ageing fans. Gen A has never been faced with choice between boring content or nothing. 

Ever.

Smart sports design and distribution acknowledges this - for Savannah Bananas their athletes and creators are distribution engines, every game is on YouTube, yet still ESPN acquired rights. It isn't about 'dumbing down' sport for fans, it's more about watchability and shareability. Jesse Cole understands how attention works and that Bananaball competes with Roblox and anime, not just other sports. Hence fan-first experience is everywhere. 

Some legacy sports won't make it. No amount of putting highlights on YouTube will save a sport stuck in the past and facing slow decline whilst new formats capture the next generation's fandom entirely. But perhaps that's how it's meant to be.

Thoughts from d2 of SportsPro Media and the YouTube Forum, a look into how the sports business is using the platform. 

It's hard not to acknowledge YouTube's dominance. Jonny Keogh delivered numbers that make arguing against YouTube's importance in sports futile. 1 billion hours watched daily on TV screens, 40 billion hours of sports consumed in the past 12 months, and sports fans collectively watching 100 million hours of shorts daily.

We know that it is increasingly watched on TV sets, which means new formats designed for the large screen that complement mobile. Forget treating YouTube "like social media", rights holders need a sophisticated content strategy. (I almost cheered at that part)

On tech, YouTube has the capability to add multiple creator commentaries to games, multi-format live will turn horizontal streams into live vertical feeds, and MLA supports 11 languages through AI translation, demonstrated by F1.

How do you follow that? With queen Paola Marinone of course who spoke with Javi Gómez about UR Cristiano's channel strategy.  It was a lesson in how an athletes can utilise YouTube as business infrastructure. After conquering Instagram, YouTube was the "natural next step" for reaching one billion followers, and Javi outlined how YT offers control over storytelling and revenue. UR Cristiano already has 3x FIFA's subs and there are big announcements to come, keep your eyes peeled.

I can't write much about my session with Livemode's Sergio Lopes on CazéTV because I was hosting! Needless to say Sergio presented a compelling case for how integrated creator partnerships can be hugely successful. He delivered top-notch insights in buckets.

Outside of YouTube, Yiannis Exarchos of OBS talked of how Olympics content was mostly consumed in longform (10 hours total on average) and across all platforms there were half a trillion engagements during the Olympics. That said, people checked shorts on their phones on average 100 times throughout the games. His view isn't that one format matters more - it's that they serve different need-states. (Almost another cheer from me)

Richard Heaselgrave from PSG delivered perhaps the conference's most critical insight for me. He spoke about needing to understand how PSG can fit into all kids' lives and think beyond French football fans. They're thinking like a global lifestyle brand, because limiting thinking to traditional fan demographics means "they might not survive." He clearly grasps the scale of the challenge facing football.

Overall a great event, though I'm still sure that most haven't yet figured out the model for Gen A engagement. The industry might want to get onto that soonish. 

Congrats Nick Meacham William Tubbs William Jones and team

YouTube’s 2025 Culture & Trends data makes it pretty obvious, Roblox isn’t a kids thing and if you're ignoring it as part of your youth strategy then you need to give your head a wobble. Roblox experiences appear as a top trending topic in the US, UK, Germany, Mexico, Indonesia, Canada and more. It's not niche, and alongside YouTube it's one of the world’s most dominant platforms, baked into Gen Z and Alpha's lives. Interactive, creator-driven worlds are mainstream and it's where fandom is being shaped, expressed and indulged.

If sports wants relevance they need another thing too: a creator ecosystem. Whilst millions of sports fans on Roblox play unofficial and fan-made sports games, creators like iShowSpeed continue to define what 'sports media' is to social-first fans. He made the YouTube top-subscribed list in the UK, US and Canada, and regardless of whether you like his brand of chaos or not, he attracts a ton of attention with his sports formats like Speed Goes Pro where he worked with Kevin Durant & Tom Brady. 

Speed is a sports broadcaster on YouTube, and he has more cultural sway with youth than the majority of leagues can dream of.  

These two trends together are giving you a hint; and it's not "drag them back to exclusive, paywalled content". Social-first fans don’t separate out sports, creators and gaming in the same way they don't distinguish between platforms - they expect native content everywhere, after all, their media lives are fluid and their fandom reflects that too. Roblox, Insta, TikTok, Fortnite and YouTube each represents a different way that social-first fans interpret and engage with sports. I've done a lot of work on ecosystem planning as it pertains to sports media and the social-first fan journey, let me know if you want to see it. 

So if you’re building a youth strategy and it doesn’t include creator-led sports content and platform-native Roblox experiences, you’re effectively choosing to ignore the biggest places young fans actually inhabit. The proof is in the report 👇🏼

I'm looking forward to hosting the session on Tuesday about scaling gaming IP into cross-media franchises. Given that last week we saw Jailbreak and Grow A Garden announce animated features there's never been a more apt time to explore how Roblox-native worlds can evolve from games into enduring global IP.

I'll map the flywheel beyond platform economics into merchandise, animation and IRL experiences, and what investors miss when they focus on in-game revenue. Expect practical tips to align developers, funders and media to finance and scale the next SpongeBob-level franchise.

There are a few tickets left, the Eventbrite page is linked below. 

Thanks Ukie for putting the event together and Zhong H. for bringing me on board.

ITV knows what it’s doing (unlike Sky Sports Halo it seems) because Angry Ginge in the I’m A Celebrity jungle is perfect casting, and it goes beyond appealing to kids.

Trad TV is struggling with their generational problem. Ofcom data shows broadcast viewing in freefall amongst 16-34 whilst formats like I’m A Celeb are skewing older. Broadcasters have been hunting for a way to pull young audiences back to TV without alienating the grown-ups already there, and attract advertisers that aren't more bingo/gambling. 

Enter Angry Ginge, creator, personality, avid football/Man U fan and someone who might genuinely be able to make families sit down and watch the same show, as Celebrity Traitors has done (even if the older ones are asking "so who is this guy again?")

He’s also part of the Sidemen orbit, one of Britain’s biggest creator ecosystems with a fanbase spanning 7-35, if not wider. Kids think they’re cool, teens couldn't buy merch fast enough at the Sidemen Charity match, and many Gen Z have followed them since they were gaming creators. Young parents recognise Ginge. 

His energy is also made for social, and ITV is going to need those TikTok moments if they're going to give Traitors a run for their money. TikTok, Reels and Shorts are the discovery engine for TV and the cultural currency ITV is relying on to find relevance with the social-first generation. Angry Ginge will no doubt be a one-man content feed.

His humour just works, he’s chaotic, expressive but quite self-aware. He also fits ITV's stated desire to bring creators into talent pipelines. I really can see the older generations warming to him, and that positions him perfectly drive audience and advertising value.

Athlete Marketing Manager at ATP Tour // I Help Athletes Use Bespoke Content To Grow Engagement Rates By 10%

Athletes are obsessed with Anime 

So here's what we did for a tennis superstar... 

🔴 Ahead of the Nitto ATP Finals, we commissioned an anime content piece celebrating World No. 6 Taylor Fritz. 

🟡 Working with talented animator Sergio Garcia, we delivered a creative concept of Taylor playing against an anime version of himself. 

🟢 Taylor loved the content, and it performed really well (611K video views, +233% higher than usual performance) 

By leaning into athlete interests, we can deliver incredible results 📈

Thoroughly enjoyed Ukie's The Funding Formula. There's something inspiring about UGC creators, and it's a pleasure meeting like-minded supporters and investors that want to learn, and in turn share our experience about how to build valuable IP in new ways. 
Some thoughts drawn from my talk and listening to other sessions: 

UGC gaming is the new IP incubator. Recent deals like Wind Sun Sky x Badimo (Jailbreak) and Story Kitchen x Grow A Garden flipped the established franchise model and show UGC gaming is an origin of IP, not a subsequent licence deal nor marketing afterthought.

'Ecosystem thinking' from day 1 is vital. Creators who architect worlds with narrative flexibility, expandable lore and cross-platform potential from launch can build enduring franchises, not just viral games.

Simultaneous storytelling beats a sequential rollout hands down. Instead of the old formulaic linear expansion, successful IP expand to live across Roblox, TikTok, YouTube, Discord, merchandise and even animation simultaneously.

The franchise flywheel accelerates revenue and is a hedge against platform (and algorithm) dependence. CREATE (world-build) → IMMERSE (expand multi-platform presence) → OPTIMISE (continuous iteration and improvement) → MONETISE (merch, licensing, LBE) becomes your growth model.

Speed creates advantage. Testing concepts on Roblox means creators can validate IP in weeks vs. the years long cycles of traditional development.

M&A activity will surge. Studios and operators will acquire UGC-native IP early to build infrastructure around proven engagement before competitors.

Adaptation risk is real. Games without sufficient lore, depth, staying power, loyalty or scalability beyond platform-native audiences will face headwinds as movies or TV series. Timing and super-serving the fan is critical.

In summary, UGC creators who can think in franchise terms - building worlds and characters that transcend platforms with authentic, native expressions across each medium will create the next raft of global entertainment IP. I'm definitely here for it. 

Great to see Sam Collins, Zhong H., Calvin Innes, Danny Spronz, Zack Slatter, Bukky Moemeke, Tiago Teixeira Correia, Matthew Warneford, Edwin Lyons

What is the new content value equation? Social-first behaviour is challenging everything we thought we knew about content value - have studios, broadcast and brands got a plan?

Gen Z and Gen Alpha consume 2x more shortform per day than longform content (yet longform still holds an important place) and they expect every piece of media to feel “made for me”,  and for the most part, participatory.

It isn’t a passing fad, it’s a cultural 180 that media businesses need to account for. 

Tomorrow, we’re unpacking exactly what that means for media, for the consumer experience, and what that means when we think about content value - because the youngest generations are forcing creators and platforms to rethink how they show up.

Join me and Jason Austin and Trevor K. Co-Leaders of OTTRED Consumer Experience Think Tank

There’ll be practical takeaways for anyone building content, running platforms, or trying to win the attention of the next generation of fans so join us for “How Gen Z & Alpha Are Rebuilding the Content Value Equation” tomorrow!

📅 November 25th
🕐 1:00 PM UK Time
🌐 Live on the OTTRED App
🌍 Download the App via links in comments

What is the content value equation for social-first audiences? Clue: what they value (and where) is NOT the same as the content valued by previous generations - so to try to map over what is broadcast/streaming first won’t work. 

What can I say, it’s complicated… thankfully OTTRED and RedHolt asked me to pull together a webinar to address it. Details to sign up are below and there’s a chance to submit questions prior and we’ll have a go at answering as many as possible.

What happens when Gen Z and Gen Alpha decide what “content value” really means? 🤔

The next OTTRED Consumer Experience Think Tank Webinar is here and this one’s all about how social-first behaviour is rewriting the rules of media, marketing, and audience connection.

🎧 Featuring Special Guest:
 Jo Redfern 🔜 SportsPro Media - Founder & CEO, Futrhood Media

🎙️ Hosted by:
Jason Austin & Trevor K. - Co-Leaders, OTTRED Consumer Experience Think Tank

💡 Topic:
Social-First – Gen Z and A’s New Content Value Equation

Gen Z and Gen Alpha are redefining what content value means. For them, social-first isn’t just a platform strategy, it’s a cultural shift that’s flipping traditional TV logic on its head. 📺 

In this live webinar, Jo Redfern 🔜 SportsPro Media explores how social-first behaviour is reshaping the business of media and what it means for anyone trying to reach the next generation of fans. Expect real insight, practical examples, and a sharp look at the future of audience engagement. 

💬 Got a question or topic you want explored?
Drop it in the comments, send it directly to Jason, Trevor, or Jo, or bring it with you to the session, they’ll be taking your questions live.

📅 November 25th
🕐 1:00 PM UK Time
🌐 Live on the OTTRED App. 

🔗 Already part of the community? Register and join the session here: https://lnkd.in/dD62-AgG

📲 Not yet in? Download the OTTRED App or join the global media community:
→ App Store: https://lnkd.in/djiX5iS2
→ Google Play: https://lnkd.in/dPcZBnNt

#streaming #media #content

Read enough of the Netflix/WB news? I've got an antidote for you! This week we were joined in the Kids Media Club by marketer, podcaster, author, father and recovering Frenchman Louis Grenier who delivered his inimitable take on marketing when working with kids content. 

He also shared his thesis on how to use creativity to differentiate in a fiercely competitive market, so Netflix and WB execs should maybe have a listen too. 

Expect some swearing and truth bombs - we might be about kids media but we don't have kid listeners, but take this as an advisory anyway 😁.

Listen on the usual platforms or watch on YouTube.

Loki series author Louie Stowell joins the Kids Media Club to make the case for more chaos in children's books. Music to my ears! 

She also explains how illustrated books hook reluctant readers and debunks the myth that drawings are only for "struggling" readers - far from it - they're a legitimate storytelling medium. As a comic reader over novels I felt seen. 

She also gave practical advice at a time when reading for pleasure is in decline (and you can’t ONLY blame TikTok or Roblox) and she argues that giving kids real agency in what they read matters more than you think. 

Louie also echoed that kids publishing needs more risk-taking, diversity in the fullest sense of the word and yes, anarchy! What an inspiration, thanks for joining us Louie. 

You can watch the Kids Media Club podcast on YouTube or listen on the usual audio platforms. With Emily Horgan and Andrew W.

If you can’t own the platform, own the relationship. Making your IP resonate across your fans’ entire media ecosystem is more than clips and highlights. 

It means designing for attention and shareability, it means having a creator strategy, it means understanding need-states and it means facilitating fans to move fluidly to the part of your ecosystem that THEY value most, not where YOU force them to go. 

If you can deliver that, and have an intentional monetisation strategy that allows for many depths of fandom in many places (social, licensed, O&O) you might find that value flows more freely too.

How do we build and truly own fan relationships when algorithms and platforms are always changing?

Hear more from Jo Redfern 🔜 SportsPro Media's Vimeo REFRAME session on why fandom isn’t owned, it’s earned. https://vim.io/43yGelT

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Jo Redfern

Performance Score.css-goub6s{font-size:var(--chakra-fontSizes-md);font-weight:500;color:var(--chakra-colors-gray-600);display:block;margin-top:var(--chakra-space-1);}Jo Redfern's LinkedIn Performance

Jo Redfern's Best Posts .css-1emoo84{font-size:var(--chakra-fontSizes-md);font-weight:400;color:var(--chakra-colors-gray-600);}(last 30 days)

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Jo Redfern 🔜 MIPJr's Linkedin Analytics

Performance ScoreJo Redfern's LinkedIn Performance

Jo Redfern's Best Posts (last 30 days)