Industry

At Series Mania, on Wednesday, March 25 one of the most relevant conversations titled “How to Turn YouTube into an Asset for Your Series?”, was presented by Maria Rua Aguete, Head of Media & Entertainment at Omdia, in conversation with Justine Ryst, Managing Director of YouTube France and Southern Europe. In her introduction she outlined a clear shift: YouTube is no longer simply a promotional tool or a secondary window, but a central player in the content ecosystem.

The data leaves little room for ambiguity. Across key markets such as the United States and France, YouTube is now the most widely used video platform across multiple age groups, particularly among audiences over 25—traditionally considered the stronghold of linear television and premium streaming . Globally, its scale is unmatched: by 2027, YouTube’s audience is projected to be nearly three times larger than Netflix’s, fundamentally redefining what “reach” means in today’s media landscape .

But the most important takeaway from Aguete’s presentation is not just about scale—it is about positioning. The industry is entering what she describes as a “new partnerships era”, where broadcasters, streamers and platforms like YouTube are no longer operating in direct opposition, but increasingly in complementary roles. Rather than cannibalising audiences, YouTube offers a powerful layer of discovery, engagement and amplification that can extend the lifecycle of IP.

Concrete examples already point in this direction. From FIFA selecting YouTube as a preferred platform for the 2026 World Cup, to broadcasters such as the BBC striking landmark deals to distribute content on the platform, premium content is steadily increasing within YouTube’s ecosystem . At the same time, new distribution strategies are emerging that challenge traditional windowing models, with projects using YouTube as an early touchpoint before moving to theatrical or SVOD exploitation.

This strategic reframing was further explored in the conversation that followed between Aguete and Justine Ryst, Managing Director of YouTube France and Southern Europe. The key message was clear: YouTube should not be seen as a competitor to broadcasters or streamers, but as an ally—one that operates at a different stage of the value chain.

What YouTube offers is not necessarily substitution, but expansion. Its strength lies in its ability to build awareness, foster communities and maintain continuous engagement between seasons or releases. In markets like France, where there is significant overlap between YouTube users and traditional broadcaster audiences, the platform effectively acts as a bridge rather than a disruptor . More than half of users engage with both ecosystems, suggesting that cross-platform strategies are not only viable, but essential.

At the same time, YouTube introduces a fundamentally different economic model. Unlike traditional commissioning, where funding is secured upfront, YouTube operates on a revenue-sharing basis, distributing more than 50 percent of its advertising and subscription revenues directly to creators and rights holders . Between 2021 and 2025 alone, the platform paid out over $100 billion—exceeding the total content cash spend of Netflix over the same period . However, this model also shifts risk onto producers, requiring a different mindset that blends content creation with audience development and performance optimisation.

For producers and distributors, the implication is clear: success on YouTube is not guaranteed by simply repurposing existing content. It requires a native strategy—one that understands the platform’s algorithms, audience behaviours and formats, from short-form clips to long-form programming and hybrid models. In this sense, YouTube is less a window and more an ecosystem, where storytelling, marketing and monetisation are deeply interconnected.