Jon Loew, CEO of BIG Media, tells ScreenMDM about the crucial need to adapt to the new normal in the factual distribution business: pickier buyers, but a wealth of new ways to reach audiences.
What’s your temp check of the factual business right now?
The factual distribution business is in a period of real transition. Traditional buyers are being more selective, but at the same time, there are more platforms, more windows, and more ways to reach an audience than ever before. Whereas in the 90s, 2010s, and 2020s the goal was one premium placement in a territory, it’s now more important than ever to make your content ubiquitous. The opportunity is there, but you have to be flexible about how content is financed, packaged, and distributed. The old models are changing, not disappearing, and the companies that adapt will be the ones that survive and grow.
What’s your sense of what buyers are looking for?
I’m always a little cautious about declaring that one category is suddenly “the” trend. What buyers consistently want is a strong idea, a clear point of view, and a story that appeals across countries and cultures.
We’ve seen particularly strong interest in stories that take audiences inside worlds they normally can’t access. That has been true of our top ten hits Spy Ops and Spycraft on Netflix—both of which explore the world of spies, intelligence, and government agents. We’ve also had success with series built around global disasters, UFOs, criminal investigations, and some of history’s greatest mysteries. There is a lasting appetite for subjects that make viewers feel they are discovering something they didn’t know before — and I don’t think that ever really goes out of style.
How important are co-productions to help get shows off the ground?
Co-productions have been a vital part of our business for a number of years, and in today’s market, they’re more important than ever. They allow us to put more resources on the screen, create higher-quality programming and build a stronger global revenue model around a project. At the same time, our co-production partners gain exclusivity in their home markets, which gives them something distinctive in an increasingly competitive landscape. At their best, co-productions aren’t simply a financing mechanism—they align everyone’s interests around making a better show with greater value in every market. Broadcasters only pay for the rights they need, and in the end, we have a globally appealing piece of content.
How early do you need to board projects?
Every project is different. I know that is probably an unsatisfying answer, but it’s a truthful one. Of course, we strive to board projects as quickly as possible and move into production, but it depends on all the parties involved. We’ve been able to board a new series idea incredibly quickly—within a month—and others sit in development for years as we iterate the core ideas and try to confirm a lead broadcaster or broadcasters.
How are you approaching the D2C space, from FAST channels to YouTube channels?
We’ve leaned into D2C in a substantial way, but our philosophy has been to work with partners who understand those platforms better than we do as producers. With wedotv, which specializes in launching FAST channels globally, we launched wedotv Big Stories, a channel built around our library. On YouTube, we’ve worked with specialists such as Little Dot, Quintus, and Insurgence to package and grow channels effectively. For us, the opportunity is not about owning every part of the process. It’s about finding the right partners, understanding how audiences behave on each platform, and making sure our content is positioned to reach them.
How are you balancing demand for high-end, premium and limited versus the appetite for returnable, volume and franchises?
It’s a balancing act, but it’s also a fortunate position to be in. We have established, returnable franchises like Destruction Decoded and Truthseekers that can build audiences over multiple seasons, alongside premium limited series such as Inside the CIA for Disney/Hulu/Nat Geo. Both have an important place in the market. Buyers need proven concepts that can deliver volume, but they also want distinctive, high-end programming that can become an event for their audience. For us, the goal is not to choose between the two, but to build a slate where each serves a different need.
