The “What’s Hot in Media: The Creator Economy” panel, presented by Omdia and Webedia at MIP London 2025, brought together experts to discuss how the creator economy is redefining the media landscape. Moderated by Maria Rua Aguete, Head of Monitoring and Evaluation at OMDIA, the panel featured Julian Allard, Senior Producer at Webedia, and Anha Benessalah, Head of Content and Non-Scripted Strategy at Webedia.
The session began with Omdia‘s analysis of the competition between Netflix and YouTube. According to the data presented, by 2025 Netflix will surpass YouTube in video revenue for the first time, reaching $46.2 billion, compared to YouTube’s $45.6 billion. While Netflix relies on subscriptions, YouTube continues to dominate with its advertising model.
María Rúa Aguete pointed out that both giants are more inclined to collaboration than competition. An example of this is the use of YouTube influencers to promote series such as Squid Game, a strategy that demonstrates the power of creator-based marketing.
One of the key aspects analyzed was the change in the way audiences consume content. The rise of connected TVs is making YouTube increasingly similar to traditional television, with a growing demand for long-form content.
According to Rua Aguete, “YouTube’s growth in connected TVs is redefining monetization strategies. More and more studios are seeing the platform as a primary distribution channel, not just a marketing tool.”
During the panel, Anha Benessalah highlighted how the profile of content creators has evolved: “Unlike YouTube pioneers, who focused on content volume, new creators prioritize quality and diversified monetization strategies. They are production houses in their own right.”
Julian Allard, meanwhile, highlighted the case of Kaizen, a documentary by youtuber Inox Stagg, produced by Webedia with a $1.5 million budget. “It shows that high-quality content production is no longer exclusive to the big studios.”
The panel also explored the relationship between YouTube and the film industry. According to RuaAguete, “YouTubers are helping to attract audiences back to film. Warner Bros. has already released more than 37 movies for free on YouTube, recognizing its potential as a distribution platform.”
The case of Kaizen was an example of an innovative release strategy. Although the documentary was available for free on YouTube, it was first released in theaters with paid tickets, selling out within minutes. “The audience was not for exclusivity, but for the community experience,” Allard explained.
The session closed with a discussion of the role of brands in funding maker projects. Benessalah emphasized that brands understand the value of an engaged community: “Nike, Orange and North Face funded Kaizen without seeing prior material, relying on the creator’s connection to their audience.”
The key message from the panel was that collaboration, not competition, will define the future of the creator economy. “The growth of platforms and creators is not exclusive. A strategic approach allows everyone to benefit,” concluded Rúa Aguete.
