Hi, I'm Justin Crosby and welcome to another TellyCast. My guest this week is Amie Parker Williams, director of Commissioning and Production at MTV Entertainment Group International. Amie's at the forefront of creating groundbreaking content for one of the best known youth media brands in the world. In our conversation, we're gonna dive into her approach to commissioning, how she's navigating the challenges of a fast changing digital first landscape, and the strategies MTV is using to connect with global audiences.
In a crowded content market. So whether you're a seasoned TV producer, a digital creator, or someone just looking to understand the future of entertainment, this episode is packed with insights you won't wanna miss. For more videos featuring the moves and shakers of the content industry, just search TellyCast TV on YouTube and hit subscribe.
Okay, let's get into it. Amy, welcome to the show. Great to see you.
Thank you. Thank you for having me.
Not at all. Not at all. Great to see you. Last time we saw you was at the, uh, how to make money in digital events.
Yes. That was brilliant. It was great to be on stage with some of the, the best in the business right now.
Channel four Hurst. Yeah. Very, very
great. That was, yeah, lots of, lots of great conversations Actually. You can, you can get that episode on, uh, the YouTube channel as well, on our YouTube channel. You can go back and look at that. Panel. But yeah. So let, let first of all, tell us about your role and your role at MTV and and what does that encapsulate?
Yes,
so as you mentioned earlier, I am director of Digital commissioning and production for MTV and Comedy Central. And I guess it's my job to curate and create compelling original content and build. Fantastic experiences across all of our social platforms. I also head up our in-house production team made of incredibly wonderful and talented producers, editors, production managers and coordinators.
And some of our commissions have been made by them.
Right. And how long have you been at MTV and uh, 'cause you also obviously com Comedy Central as well. Yes, comedy
Central as well. I've been at the company for nine years now.
Right. Long
time.
Okay. All right. You're an old hand in, in the new world of, uh, digital First, which is great to see.
So. Two massive brands, you know, renowned all the world over in terms of, you know, youth media brands. We're obviously seeing a real shift in the. Traditional TV landscape at the moment and and more of a move towards digital. First, tell us how your commissioning strategy has evolved over those last 12 or 18 months.
So we've been more ambitious and more confident in our commissioning approach. We've taken bigger creative swings and backed, bolder, distinctive ideas. But I would say our, the biggest change is really down to how content has been made over the last 12 to 18 months. So, as I mentioned earlier, I do head up a production team and some of those commissions sit with them.
Our commissioning model has evolved to be more of a hybrid approach, so a really dynamic balance between in-house productions and working with external parties and indies. And that flexibility has allowed us to think quicker, move quicker, experiment more, and really scale ideas that connect us with our audiences.
And when we have worked with indies, the ideas and the early process still works in-house.
Okay. So, so the, so the ideas really come from you in, in the first instance? In, in most cases,
yes. Typically in most cases. So I will shape an idea or develop a concept, and when that feels creatively strong and there's internal momentum and by that other stakeholders share the same passion as I do about the idea, I will thoughtfully reach out to the prog companies and indies that I think are best place to go on and develop what we end up seeing on screen.
And that model has worked really well for us. That means there's brand alignment early on, but it also allows the indies that space to really elevate and execute the idea with their own expertise and flare.
So you, you are, uh, commissioning for social platforms, your own channels on social platforms, but also on the main channels as well.
I mean, is is that the same typically, is that the same show but, but versioned in different ways for different platforms or? No.
So they are truly digital first. So we are thinking about all of the platforms that these can go on, and largely they are social platforms first, but. There might be opportunities where it makes sense for it to also go on other platforms such as p plus and, and the linear channels.
But every commission is digital first with a view of it going elsewhere.
Okay. Um, can you give us, give us some examples then of digital first shows that you've commissioned in the last 12 months or so, or at least have, have, uh, have, have aired in the last, uh, last year or so?
So a recent example is every Woman with Sophie Kasai, which is our fertility docuseries.
Um, it has Sophie Kasai Jordy Shaw Star. She's an og, been in the show for 15 years and I've worked with her on many digital properties, but I also knew about her desire to become a parent, and she's been quite vocal over the last few years about how it hasn't happened for her yet. And so last year working with Dare Picks, we followed her journey through actuality.
We attended f Fertility appointments, we met with other women. Experience in reproductive health conditions and or emotional trauma from that. And what this series did and did so well was not only fuel existing fandoms, those truly obsessed with the George Shore Universe, but it also brought in a new audience, one that might not necessarily watch reality TV or even J Shore, but were deeply passionate because of the subject matter, which was fertility.
Well, she's got a huge following. I mean, Google, uh, analytics the other day and the number of people that they come onto the drop who've been searching for, for her as well, you know, and, and, and what she's been up to. So it's obviously, you know, a really successful talent when it comes to the social, uh, social platforms.
I think having brand talent at the helm of societal issues is just a great way to open important conversations, often difficult ones through an entertaining and accessible lens.
Yeah. So you. About to announce some new ones as well, some new commissions. So tell us about what you've got coming up.
Yes, uh, very excited.
We've got a few dropping in the coming weeks and months. The first one is MTV Faces, which is our mental health podcast series that tackles taboo, often timely topics. The first series, we explored grief with Ashley Cain, who sadly lost his daughter to leukemia at the age of eight months. We then went on to focus.
On A DHD with Jordan Stevens. Both series did incredibly well for us. I think it resonated with audiences for many reasons, but I think the main one being we complicated representation rather than simplified it. And I think we created the intelligent storytelling that communities that are so often overlooked but have every right to feel seen and heard and included are seeking.
And so we go again with series three. This time we are tackling body image. Which comes with a whole host of complexities. Meghan Jane Crab is the host. She is an author, activist, and longtime body positivity advocate, and we've got some great names attached to the series for this one.
So it's in interesting that, you know, the, the clear thread that runs through those of, you know, societal issues as you say.
Is that what your audience research is telling you, the MTV audience is looking for now? Something that, you know, content that they can relate to as well as obviously familiar faces they're fans of?
Yeah, definitely. I think it comes down to relatability, having talent, seeing them in more of a vulnerable light, discussing topics that matter to them.
You know, those conversations that are often relegated to private messages or WhatsApp ME messages, but deserve a bigger platform in the mainstream. And I think that's what faces does incredibly well, I think. With body image, we're in a time where conversations around physical appearance, self-worth identity are louder than ever, but also far more complex.
And there is this real tension between, especially for the younger generation, between visibility and vulnerability and curated social media versus the messiness that is the real world. And with this series, we wanted to go beyond surface level conversations, in fact, with all of our series, and we wanted to.
Explore the often unspoken experiences that many have when it comes to their body and their identities. And we go deep. We, we talk on gender dysphoria, body dysmorphia, eating disorders, and how age, race, culture, class, ability, all shape, how we fit into society.
Well, it's really interesting that, that you're tackling these issues because these are all issues that, you know, I think pandemic has, has made worse in many ways in terms of us being maybe more separated from each other and, and also social media in its own right, which we all know that, that, that the downsides to social media as well as the positives as well.
And obviously this is feeding very much into that.
Exactly that. And I think this will be something that. Many will be able to relate to and hopefully it's, it's will resonate with them on, on a deeper level and understanding that there are other ways to, to reach out for help if that's needed.
And is this part of a broader commissioning strategy then for MTB in particular?
I.
Yeah, I mean, commissioning is just one part of the puzzle. The wider editorial strategy is shaped by the wonderful Kat Collins VP of Digital and Social, and I'm incredibly fortunate to be part of a team, a creative editorial, sharp team, where together we are focused on building a community that are deeply passionate about what we make, and whether that's through smart content design or tailored storytelling for each platform or local.
Localizing and distributing our content globally. We're constantly thinking about ways to reach audiences through relevancy and real connection.
Yeah. So you talked about a lot of in-house production, but also more and more you're starting to look outside and work with appropriate indies. You know, can you tell us a little bit about what else you're looking for now?
Any indies that are watching that may have some ideas, you know, maybe ideas sparked by what you've just talked about in terms of this, this broader approach. Give us a sense of what you're looking for and what sort of scale of projects that you're looking at. Yeah.
I'm looking for content that feels urgent, honest, intentional, as I mentioned earlier.
What are those conversations, those tough conversations that need to be spoken about more? That's what I'm looking for, but I am also looking to have a range when it comes to diversification of length. So I still think there is this old assumption that for the younger generation, especially attention spans are shrinking and only bite-sized videos can break.
Through a very noisy and oversaturated landscape, and I truly don't believe that's the case. I just think viewers are more intentional of what they choose to watch because time is limited, and I can vouch for that, not as a Gen Z, but as a millennial mom of two young children who hasn't slept in about five years.
And so there are days where I only have. Capacity for a 92nd video on TikTok and the next, I'm heavily invested in a 90 minute documentary on YouTube. And so what's crucial here is that it's less about length and more about relevancy, resonance, and, and real connection. And I'm trying to build a diverse portfolio that hopefully meets the shifting mood and mindsets of our audience and create content that meets.
Any state of mind at any given time on any given platform. And that's looking at formats, that's looking at genre, but it's crucially also looking at length. And when you look at our slate over the last few years, we've commissioned. Projects from five minute Stand Up, 25 minute docuseries, hour long podcast.
And so I think it is crucial that we have this range to meet the audience's mood in mindset and
what we've seen from YouTube and many of the social platforms that young people, if they are invested and we're saying young people in, in broadest possible sense, but, but actually anybody who's looking at following like the side men, for example, you know, a two or a three hour.
Session is not, you know, it is not unusual. So it's, it's all about, you know, how relevant the, the story is to them and they, the them investing into it
100%. And you also have to think about. What people are doing. People go to the gym and they're watching hour long podcast. People are cooking and they want, they don't want to think about the next thing.
So it's a case of making sure we are creating content that serves their purpose at any, at any point in time.
So we've obviously seen a whole new range of content creators and digital first studios popping up over the last few years, and obviously some are more established than others. And I know you've just worked with one, which you mentioned dare.
Are you looking, does that, does that really sort of suit your commissioner's commissioning strategy when it comes to working with newer indies or certainly newer talent as well?
Yeah, so when it comes to the Indies, it really comes down to two things, and that's skillset and values. On a practical level, we want to team up with partners that.
Truly specialize in the genre, the format that we're commissioning, who understand tone, audience, and crucially the platforms in which the content will be published on. And I actually think newer indies are best placed here because they are platform fluent. And by that understanding that each platform speaks a different language, operates differently, has different audience behaviors that don't necessarily shift cross platform.
And I think it's more crucial than ever to be able to present how an idea might. Fly on YouTube, dance on TikTok and, and sing on Instagram. And it goes a long way when it comes to building trust between commissioner and and Indie and then on the onscreen talent front and working with them to grow, to grow with them and give them opportunities.
That's at the heart of our, of our commissioning strategy. I think we are. Actively creating formats that puts Emerging Stars Center stage. Not just featuring, but leading and Shining And Comedy Central Live, which is our flagship standup show, which provides talented individuals from largely underrepresented groups showcase their brilliance is is a really great example.
It's built for emerging talent and. Some of those have gone on to broader recognition, which is great, but we take pride in that. We back them early. We built with them, and we didn't wait for the mainstream to catch up.
So obviously we're seeing some incredibly successful creators coming up through the likes of TikTok and YouTube and Insta.
Uh, I'm sure that, you know, they're, they're very much on your radar. How, how are you looking to work with this next generation of talent that that is, that is coming through literally through their phones?
Yeah, I mean it's, it's honestly essential, I think for any strategy to be able to work with these digital first creators.
I think when you think about Gen Z and who they resonate with, they are drawn to people who bring their full selves to the screen. And it really comes down to, to authenticity. And I know it's a term that gets discussed quite a lot, but I think it's one that's always worth returning to because it's less about polish and perfection and more about realness and relatability and.
Rejection of perfection from Gen Z really stems from them coming of age at a time when the world was anything but perfect. And so there's this sense of realism that's instilled in them, and they are, they are expecting that same energy from the view, the people that they're watching. And that kind of authenticity is born and nurtured on platforms like Instagram, TikTok, and YouTube.
Yeah. Well, how, how do you replicate that as a broadcaster, essentially making programs with talent that's come, come from these really authentic. Platforms, how do you replicate that and bring them into the formats that you are creating and, and make them feel comfortable?
Yeah, so for me it's um, we wanna keep that rawness and relatability, but for me it's crucial that when we do, we are offering a truly unique offering that can't sit on their own pages comfortably.
And so that might be giving them a new format to, to be in the. Their viewers aren't used to seeing them in, or it might be going much deeper into a topic, or it might be a complete the opposite way. So if it's something heavy that people are used to maybe seeing them in a lighter way, if they're used to seeing them lighter, it's, it's good to see them in a more vulnerable light, which I think with Jordy Shaw Star, Sophie Kaci is a great example.
People are used to seeing her as a party girl, but with this fertility series, it was more vulnerability and it's the same approach with creators. It's just making sure that. The production is still humanized and there's that relatability and authenticity still there, but
maybe re revealing a different side to them that, that the audience never used to.
Yes. Yeah. And data is obviously really key when it comes to commissioning for digital first. How does that play into your strategy?
Yeah, so we're using insights to help us understand. What's resonating, where engagement's happening and how we can push those connections even further. But we know it's not just about views.
We know it's the full engagement picture, the watch time, the likes, the shares, all of that good stuff. It's a real indicator as to whether we are really connecting with our audiences. And when I look up. When I look back at our, our commissions over the last few years, I think we've done a great job of, you know, building a community that are deeply passionate, as I said earlier, about what we make, you know, gaining fans, not just followers, receiving active views and not just casual, passive scrolling ones.
And for us, yes, we use insights to make sure that we're serving audiences in the best way always, but we do also leave space. To innovate and experiment because if we only were to look at the numbers, we might be missing out on cultural impact or, or relevancy. So we're data inspired, I would say. Yeah.
And so what's your view on risk as a producer and a broadcaster when we're coming to this new or authentic world?
Risk is essential for, for all of us to remain relevant. As I, as I mentioned earlier. I think it's, it's, it's important to, to look at what we do to make sure it makes sense for the audience, but. You do need to leave space. You do need to experiment. You do need to try something out that's new because that's where the magic happens.
And so for producers, as general, do you think it's, it's harder than ever now for producers to get their ideas away because the whole landscape is shifting. It seems to be increasing in speed in the way that it's shifting as well. Do you think it's harder for producers to get those fresh ideas away?
It's challenging times for everyone, everywhere. I think it's making everyone be more strategic, more focused, more intentional with their approach to storytelling. And at Paramount, I guess we are fortunate that we have these built-in audiences that are obsessed with the brand's iconic IP heritage. And for us it's about finding new and meaningful ways.
To unlock the full potential of the, these ips and fuel those fandoms. But it's also understanding that it's no longer about driving viewers to one place, which for a long time was tv. Uh, and forging long lasting connections with global audiences. And it's about meeting them where they are and they are everywhere and commissions are happening, just maybe not in the traditional spaces people are used to.
And I think YouTube is a great example of that for Gen Z. And in actual fact, other age brackets. It's increasingly becoming their version of television as well. And I think the very fact that a billion hours is spent on YouTube daily, on TV alone speaks volumes about the power of the platform and where attention is shifting.
And so I think it's just a case of being mindful of that and understanding that commissions might look different. Um, and that's okay. I think it's an exciting time to experiment and connect with the next generation. And as long as we keep our ourselves open to what the future. Will look like it's already here.
Then I think there's opportunity for sure.
But we're talking about a time when the squeeze budgets and we're seeing talent costs rising, particularly in the digital space as well, and it's a huge shift in the talent space going on. How do, how does MTV and Comedy Central approach that? Because that's, you know, that's a fundamental challenge to any producer and every broadcaster that that tension of rising costs and rising talent costs.
Yeah, I think it's about doing the right things. In the right format with the right people. So it is about prioritizing those ideas that cut through that re-imagining IP and working with talent that don't just bring name recognition, but bring purpose, community, and cultural impact. That's, that's kind of how we are doing it.
So you've got another commission as well, which is Jordy Shore related. I think
it is. It is. Jordy stories. Nathan and Dad, which follows Jordy, sho star, Nathan Henry and his dad, Glen 72, who is living with stage four cancer and the four part docuseries will see the pair go back to Glen's birthplace.
Birthplace in Jamaica. He hasn't been back to his hometown since he was 11, so that's nearly 60 years ago. And so what unfolds. Is this incredibly raw moving exploration of father son dynamic through the lens of black masculinity L-G-B-T-Q, acceptance in Caribbean culture, and also touch on themes such as heritage and grief, and before partnering with dot carts who have gone on to produce this.
Show with such integrity. Really this idea came from noticing that there was a trend, um, of parent, child, father, son commissions. In the unscripted. You've got Bradley Walsh and his son. You've got Jack White Tool and his dad. You've got Mark Wright and his dad. And while those are great, there is an obvious gap of authentic portrayals from other cultures and backgrounds, in particular Black Father Son Dynamics.
And for me, that inadvertently suggests. That all black f all black men are absent fathers. And we truly know that that's not the case. And this just felt like long overdue necessary. And what Nathan brings to the series is warmth, humor, integrity, relatability, um, on an important conversation.
Alright. Okay.
Well that sounds fantastic. We'll look forward to seeing that. And now's the time in the show for story of the Week where my guests get to pick out their industry story that's caught their eye in the past seven days. Amy, what's the story of the week?
Story of the week is YouTube quietly rolling out its own top 100 podcast charts in line with Apple and Spotify who've been doing it for years, but their, their version will be ranked on watch time, which I thought was quite interesting.
It might be a bit of a game changer as to what we deemed to be successful. The podcast scene has exploded of late. I don't see it slowing down anytime soon. And the very fact that the Golden Globes just announced a new category, best podcast says all that needs to be said regarding the size of the industry when it comes to.
Podcasts and YouTube have definitely dominated. I think some of the top watch shows and love shows are technically podcasts, whether viewers deem it to be that or not, and I think this is them actually making a statement to creators and probably rivals that we are not the platform. Just to upload the video version of your podcast, we are the podcast platform.
Full stop. Yeah. So yeah, I think it'd be interesting to see if creators change up their strategies to be a bit more YouTube first, creative first. More oversized headphones coming neon signs.
Well, that's it. I mean, essentially there's not much difference in if we just got rid of these mics. It's a TV show, isn't it?
I mean, that's the, all of these formats are starting to make mix and meld and just create new amazing entertainment formats, right? So, okay. YouTube with their top 100 chart and, and how about your hero of the week, Amy?
Hero of the week is tech investor, co-founder of Reddit and Serena Williams' husband Alexis Hanian for investing 20 million in Chelsea Women's Football Club, which is a a huge moment for the club and also for the game more broadly.
There's definitely been a trend in celebrities attaching themselves to UK football. You've got Ryan Reynolds with Rex Mfc, you've got Tom Brady with. Birmingham city, LeBron James, Liverpool, Michael B. Jordan Will Ferrell with leads. He's one of the least investors leads. Exactly, exactly. So it's great to see the spotlight shift to the women's game where serious investment, arguably is much greater.
And I think with Alexis, we know it's not just about jumping on a trend. He's a major advocate for women's sports. Rina is his wife after all, and I think. He understands the power of community and brand building. When you think about Reddit, and I think he'll bring a Silicon Valley mindset to, to the game and hopefully bring networks and.
Brands that will supercharge the commercial growth and sustainability of the, of the women's game. And Chelsea are a powerhouse on the pitch. They just went and they just went and won the treble went unbeaten in the women's super league. I just think this is gonna be a game changer. Off off the pitch too.
Yeah,
it's really interesting 'cause obviously women's football in in the US is huge. It's one of the biggest women's sports out there as well. See what that combination of the big brand, the big tech investor and the successful team leads to. But uh, I have to say I'm not a massive f ch fan of Chelsea, but there we are.
We'll skip over, uh, over that. Who or what are you telling to get in the bin?
Getting the bin? No, I found this one hard because, uh, I don't like to think too negatively. Um. But I would say the potential threat of a bunch of festivals being canceled at Brockwell Park in South London. Oh yeah, I saw that.
Yeah. Including Mighty Hoopla, which is one of the biggest lgbtq plus festivals, and I think it was down to a recent high court ruling, found that Lambeth Council unlawfully approved a bunch of. Festivals without proper permission planning. And for me, this isn't about fun. I think especially for the queer community, this is just a great space for people to feel free, celebrated, and, and safe.
And so, yes, we wanna protect the green space and the local residents, but also we wanna protect the space of voice, voices that are often unheard and, and, and lift them. Is
it the residents then that are complaining or have, have lodged the complaint?
Yeah, it's to do with, they've got 28 days to use the temporary.
They've got 28 days to use the land and. It goes over when you factor in set up and and breakdown. And I know last year that was a bit of an issue with how, how the park looked after. So I think it is just a combination of that and not the proper approval. So I'm really hoping it will all sorts itself out.
Okay. Well we'll see, we'll see. Um, Amy, thank you so much for coming on TellyCast. It's been great to have you on the show. Hopefully we'll also see you at, uh, lots of TellyCast events coming up in the very near future. So thank you very much having, being on the show.
Cheers. Thanks.
Well, that's about it for another week's show, as always.
Thanks a lot for watching and thanks a lot for listening. TellyCast is produced by Spirit Studios and recorded in London. We'll be back next week with a host of the forthcoming TellyCast Digital Video Awards Max Foss. Until then, stay safe.
In a crowded content market. So whether you're a seasoned TV producer, a digital creator, or someone just looking to understand the future of entertainment, this episode is packed with insights you won't wanna miss. For more videos featuring the moves and shakers of the content industry, just search TellyCast TV on YouTube and hit subscribe.
Okay, let's get into it. Amy, welcome to the show. Great to see you.
Thank you. Thank you for having me.
Not at all. Not at all. Great to see you. Last time we saw you was at the, uh, how to make money in digital events.
Yes. That was brilliant. It was great to be on stage with some of the, the best in the business right now.
Channel four Hurst. Yeah. Very, very
great. That was, yeah, lots of, lots of great conversations Actually. You can, you can get that episode on, uh, the YouTube channel as well, on our YouTube channel. You can go back and look at that. Panel. But yeah. So let, let first of all, tell us about your role and your role at MTV and and what does that encapsulate?
Yes,
so as you mentioned earlier, I am director of Digital commissioning and production for MTV and Comedy Central. And I guess it's my job to curate and create compelling original content and build. Fantastic experiences across all of our social platforms. I also head up our in-house production team made of incredibly wonderful and talented producers, editors, production managers and coordinators.
And some of our commissions have been made by them.
Right. And how long have you been at MTV and uh, 'cause you also obviously com Comedy Central as well. Yes, comedy
Central as well. I've been at the company for nine years now.
Right. Long
time.
Okay. All right. You're an old hand in, in the new world of, uh, digital First, which is great to see.
So. Two massive brands, you know, renowned all the world over in terms of, you know, youth media brands. We're obviously seeing a real shift in the. Traditional TV landscape at the moment and and more of a move towards digital. First, tell us how your commissioning strategy has evolved over those last 12 or 18 months.
So we've been more ambitious and more confident in our commissioning approach. We've taken bigger creative swings and backed, bolder, distinctive ideas. But I would say our, the biggest change is really down to how content has been made over the last 12 to 18 months. So, as I mentioned earlier, I do head up a production team and some of those commissions sit with them.
Our commissioning model has evolved to be more of a hybrid approach, so a really dynamic balance between in-house productions and working with external parties and indies. And that flexibility has allowed us to think quicker, move quicker, experiment more, and really scale ideas that connect us with our audiences.
And when we have worked with indies, the ideas and the early process still works in-house.
Okay. So, so the, so the ideas really come from you in, in the first instance? In, in most cases,
yes. Typically in most cases. So I will shape an idea or develop a concept, and when that feels creatively strong and there's internal momentum and by that other stakeholders share the same passion as I do about the idea, I will thoughtfully reach out to the prog companies and indies that I think are best place to go on and develop what we end up seeing on screen.
And that model has worked really well for us. That means there's brand alignment early on, but it also allows the indies that space to really elevate and execute the idea with their own expertise and flare.
So you, you are, uh, commissioning for social platforms, your own channels on social platforms, but also on the main channels as well.
I mean, is is that the same typically, is that the same show but, but versioned in different ways for different platforms or? No.
So they are truly digital first. So we are thinking about all of the platforms that these can go on, and largely they are social platforms first, but. There might be opportunities where it makes sense for it to also go on other platforms such as p plus and, and the linear channels.
But every commission is digital first with a view of it going elsewhere.
Okay. Um, can you give us, give us some examples then of digital first shows that you've commissioned in the last 12 months or so, or at least have, have, uh, have, have aired in the last, uh, last year or so?
So a recent example is every Woman with Sophie Kasai, which is our fertility docuseries.
Um, it has Sophie Kasai Jordy Shaw Star. She's an og, been in the show for 15 years and I've worked with her on many digital properties, but I also knew about her desire to become a parent, and she's been quite vocal over the last few years about how it hasn't happened for her yet. And so last year working with Dare Picks, we followed her journey through actuality.
We attended f Fertility appointments, we met with other women. Experience in reproductive health conditions and or emotional trauma from that. And what this series did and did so well was not only fuel existing fandoms, those truly obsessed with the George Shore Universe, but it also brought in a new audience, one that might not necessarily watch reality TV or even J Shore, but were deeply passionate because of the subject matter, which was fertility.
Well, she's got a huge following. I mean, Google, uh, analytics the other day and the number of people that they come onto the drop who've been searching for, for her as well, you know, and, and, and what she's been up to. So it's obviously, you know, a really successful talent when it comes to the social, uh, social platforms.
I think having brand talent at the helm of societal issues is just a great way to open important conversations, often difficult ones through an entertaining and accessible lens.
Yeah. So you. About to announce some new ones as well, some new commissions. So tell us about what you've got coming up.
Yes, uh, very excited.
We've got a few dropping in the coming weeks and months. The first one is MTV Faces, which is our mental health podcast series that tackles taboo, often timely topics. The first series, we explored grief with Ashley Cain, who sadly lost his daughter to leukemia at the age of eight months. We then went on to focus.
On A DHD with Jordan Stevens. Both series did incredibly well for us. I think it resonated with audiences for many reasons, but I think the main one being we complicated representation rather than simplified it. And I think we created the intelligent storytelling that communities that are so often overlooked but have every right to feel seen and heard and included are seeking.
And so we go again with series three. This time we are tackling body image. Which comes with a whole host of complexities. Meghan Jane Crab is the host. She is an author, activist, and longtime body positivity advocate, and we've got some great names attached to the series for this one.
So it's in interesting that, you know, the, the clear thread that runs through those of, you know, societal issues as you say.
Is that what your audience research is telling you, the MTV audience is looking for now? Something that, you know, content that they can relate to as well as obviously familiar faces they're fans of?
Yeah, definitely. I think it comes down to relatability, having talent, seeing them in more of a vulnerable light, discussing topics that matter to them.
You know, those conversations that are often relegated to private messages or WhatsApp ME messages, but deserve a bigger platform in the mainstream. And I think that's what faces does incredibly well, I think. With body image, we're in a time where conversations around physical appearance, self-worth identity are louder than ever, but also far more complex.
And there is this real tension between, especially for the younger generation, between visibility and vulnerability and curated social media versus the messiness that is the real world. And with this series, we wanted to go beyond surface level conversations, in fact, with all of our series, and we wanted to.
Explore the often unspoken experiences that many have when it comes to their body and their identities. And we go deep. We, we talk on gender dysphoria, body dysmorphia, eating disorders, and how age, race, culture, class, ability, all shape, how we fit into society.
Well, it's really interesting that, that you're tackling these issues because these are all issues that, you know, I think pandemic has, has made worse in many ways in terms of us being maybe more separated from each other and, and also social media in its own right, which we all know that, that, that the downsides to social media as well as the positives as well.
And obviously this is feeding very much into that.
Exactly that. And I think this will be something that. Many will be able to relate to and hopefully it's, it's will resonate with them on, on a deeper level and understanding that there are other ways to, to reach out for help if that's needed.
And is this part of a broader commissioning strategy then for MTB in particular?
I.
Yeah, I mean, commissioning is just one part of the puzzle. The wider editorial strategy is shaped by the wonderful Kat Collins VP of Digital and Social, and I'm incredibly fortunate to be part of a team, a creative editorial, sharp team, where together we are focused on building a community that are deeply passionate about what we make, and whether that's through smart content design or tailored storytelling for each platform or local.
Localizing and distributing our content globally. We're constantly thinking about ways to reach audiences through relevancy and real connection.
Yeah. So you talked about a lot of in-house production, but also more and more you're starting to look outside and work with appropriate indies. You know, can you tell us a little bit about what else you're looking for now?
Any indies that are watching that may have some ideas, you know, maybe ideas sparked by what you've just talked about in terms of this, this broader approach. Give us a sense of what you're looking for and what sort of scale of projects that you're looking at. Yeah.
I'm looking for content that feels urgent, honest, intentional, as I mentioned earlier.
What are those conversations, those tough conversations that need to be spoken about more? That's what I'm looking for, but I am also looking to have a range when it comes to diversification of length. So I still think there is this old assumption that for the younger generation, especially attention spans are shrinking and only bite-sized videos can break.
Through a very noisy and oversaturated landscape, and I truly don't believe that's the case. I just think viewers are more intentional of what they choose to watch because time is limited, and I can vouch for that, not as a Gen Z, but as a millennial mom of two young children who hasn't slept in about five years.
And so there are days where I only have. Capacity for a 92nd video on TikTok and the next, I'm heavily invested in a 90 minute documentary on YouTube. And so what's crucial here is that it's less about length and more about relevancy, resonance, and, and real connection. And I'm trying to build a diverse portfolio that hopefully meets the shifting mood and mindsets of our audience and create content that meets.
Any state of mind at any given time on any given platform. And that's looking at formats, that's looking at genre, but it's crucially also looking at length. And when you look at our slate over the last few years, we've commissioned. Projects from five minute Stand Up, 25 minute docuseries, hour long podcast.
And so I think it is crucial that we have this range to meet the audience's mood in mindset and
what we've seen from YouTube and many of the social platforms that young people, if they are invested and we're saying young people in, in broadest possible sense, but, but actually anybody who's looking at following like the side men, for example, you know, a two or a three hour.
Session is not, you know, it is not unusual. So it's, it's all about, you know, how relevant the, the story is to them and they, the them investing into it
100%. And you also have to think about. What people are doing. People go to the gym and they're watching hour long podcast. People are cooking and they want, they don't want to think about the next thing.
So it's a case of making sure we are creating content that serves their purpose at any, at any point in time.
So we've obviously seen a whole new range of content creators and digital first studios popping up over the last few years, and obviously some are more established than others. And I know you've just worked with one, which you mentioned dare.
Are you looking, does that, does that really sort of suit your commissioner's commissioning strategy when it comes to working with newer indies or certainly newer talent as well?
Yeah, so when it comes to the Indies, it really comes down to two things, and that's skillset and values. On a practical level, we want to team up with partners that.
Truly specialize in the genre, the format that we're commissioning, who understand tone, audience, and crucially the platforms in which the content will be published on. And I actually think newer indies are best placed here because they are platform fluent. And by that understanding that each platform speaks a different language, operates differently, has different audience behaviors that don't necessarily shift cross platform.
And I think it's more crucial than ever to be able to present how an idea might. Fly on YouTube, dance on TikTok and, and sing on Instagram. And it goes a long way when it comes to building trust between commissioner and and Indie and then on the onscreen talent front and working with them to grow, to grow with them and give them opportunities.
That's at the heart of our, of our commissioning strategy. I think we are. Actively creating formats that puts Emerging Stars Center stage. Not just featuring, but leading and Shining And Comedy Central Live, which is our flagship standup show, which provides talented individuals from largely underrepresented groups showcase their brilliance is is a really great example.
It's built for emerging talent and. Some of those have gone on to broader recognition, which is great, but we take pride in that. We back them early. We built with them, and we didn't wait for the mainstream to catch up.
So obviously we're seeing some incredibly successful creators coming up through the likes of TikTok and YouTube and Insta.
Uh, I'm sure that, you know, they're, they're very much on your radar. How, how are you looking to work with this next generation of talent that that is, that is coming through literally through their phones?
Yeah, I mean it's, it's honestly essential, I think for any strategy to be able to work with these digital first creators.
I think when you think about Gen Z and who they resonate with, they are drawn to people who bring their full selves to the screen. And it really comes down to, to authenticity. And I know it's a term that gets discussed quite a lot, but I think it's one that's always worth returning to because it's less about polish and perfection and more about realness and relatability and.
Rejection of perfection from Gen Z really stems from them coming of age at a time when the world was anything but perfect. And so there's this sense of realism that's instilled in them, and they are, they are expecting that same energy from the view, the people that they're watching. And that kind of authenticity is born and nurtured on platforms like Instagram, TikTok, and YouTube.
Yeah. Well, how, how do you replicate that as a broadcaster, essentially making programs with talent that's come, come from these really authentic. Platforms, how do you replicate that and bring them into the formats that you are creating and, and make them feel comfortable?
Yeah, so for me it's um, we wanna keep that rawness and relatability, but for me it's crucial that when we do, we are offering a truly unique offering that can't sit on their own pages comfortably.
And so that might be giving them a new format to, to be in the. Their viewers aren't used to seeing them in, or it might be going much deeper into a topic, or it might be a complete the opposite way. So if it's something heavy that people are used to maybe seeing them in a lighter way, if they're used to seeing them lighter, it's, it's good to see them in a more vulnerable light, which I think with Jordy Shaw Star, Sophie Kaci is a great example.
People are used to seeing her as a party girl, but with this fertility series, it was more vulnerability and it's the same approach with creators. It's just making sure that. The production is still humanized and there's that relatability and authenticity still there, but
maybe re revealing a different side to them that, that the audience never used to.
Yes. Yeah. And data is obviously really key when it comes to commissioning for digital first. How does that play into your strategy?
Yeah, so we're using insights to help us understand. What's resonating, where engagement's happening and how we can push those connections even further. But we know it's not just about views.
We know it's the full engagement picture, the watch time, the likes, the shares, all of that good stuff. It's a real indicator as to whether we are really connecting with our audiences. And when I look up. When I look back at our, our commissions over the last few years, I think we've done a great job of, you know, building a community that are deeply passionate, as I said earlier, about what we make, you know, gaining fans, not just followers, receiving active views and not just casual, passive scrolling ones.
And for us, yes, we use insights to make sure that we're serving audiences in the best way always, but we do also leave space. To innovate and experiment because if we only were to look at the numbers, we might be missing out on cultural impact or, or relevancy. So we're data inspired, I would say. Yeah.
And so what's your view on risk as a producer and a broadcaster when we're coming to this new or authentic world?
Risk is essential for, for all of us to remain relevant. As I, as I mentioned earlier. I think it's, it's, it's important to, to look at what we do to make sure it makes sense for the audience, but. You do need to leave space. You do need to experiment. You do need to try something out that's new because that's where the magic happens.
And so for producers, as general, do you think it's, it's harder than ever now for producers to get their ideas away because the whole landscape is shifting. It seems to be increasing in speed in the way that it's shifting as well. Do you think it's harder for producers to get those fresh ideas away?
It's challenging times for everyone, everywhere. I think it's making everyone be more strategic, more focused, more intentional with their approach to storytelling. And at Paramount, I guess we are fortunate that we have these built-in audiences that are obsessed with the brand's iconic IP heritage. And for us it's about finding new and meaningful ways.
To unlock the full potential of the, these ips and fuel those fandoms. But it's also understanding that it's no longer about driving viewers to one place, which for a long time was tv. Uh, and forging long lasting connections with global audiences. And it's about meeting them where they are and they are everywhere and commissions are happening, just maybe not in the traditional spaces people are used to.
And I think YouTube is a great example of that for Gen Z. And in actual fact, other age brackets. It's increasingly becoming their version of television as well. And I think the very fact that a billion hours is spent on YouTube daily, on TV alone speaks volumes about the power of the platform and where attention is shifting.
And so I think it's just a case of being mindful of that and understanding that commissions might look different. Um, and that's okay. I think it's an exciting time to experiment and connect with the next generation. And as long as we keep our ourselves open to what the future. Will look like it's already here.
Then I think there's opportunity for sure.
But we're talking about a time when the squeeze budgets and we're seeing talent costs rising, particularly in the digital space as well, and it's a huge shift in the talent space going on. How do, how does MTV and Comedy Central approach that? Because that's, you know, that's a fundamental challenge to any producer and every broadcaster that that tension of rising costs and rising talent costs.
Yeah, I think it's about doing the right things. In the right format with the right people. So it is about prioritizing those ideas that cut through that re-imagining IP and working with talent that don't just bring name recognition, but bring purpose, community, and cultural impact. That's, that's kind of how we are doing it.
So you've got another commission as well, which is Jordy Shore related. I think
it is. It is. Jordy stories. Nathan and Dad, which follows Jordy, sho star, Nathan Henry and his dad, Glen 72, who is living with stage four cancer and the four part docuseries will see the pair go back to Glen's birthplace.
Birthplace in Jamaica. He hasn't been back to his hometown since he was 11, so that's nearly 60 years ago. And so what unfolds. Is this incredibly raw moving exploration of father son dynamic through the lens of black masculinity L-G-B-T-Q, acceptance in Caribbean culture, and also touch on themes such as heritage and grief, and before partnering with dot carts who have gone on to produce this.
Show with such integrity. Really this idea came from noticing that there was a trend, um, of parent, child, father, son commissions. In the unscripted. You've got Bradley Walsh and his son. You've got Jack White Tool and his dad. You've got Mark Wright and his dad. And while those are great, there is an obvious gap of authentic portrayals from other cultures and backgrounds, in particular Black Father Son Dynamics.
And for me, that inadvertently suggests. That all black f all black men are absent fathers. And we truly know that that's not the case. And this just felt like long overdue necessary. And what Nathan brings to the series is warmth, humor, integrity, relatability, um, on an important conversation.
Alright. Okay.
Well that sounds fantastic. We'll look forward to seeing that. And now's the time in the show for story of the Week where my guests get to pick out their industry story that's caught their eye in the past seven days. Amy, what's the story of the week?
Story of the week is YouTube quietly rolling out its own top 100 podcast charts in line with Apple and Spotify who've been doing it for years, but their, their version will be ranked on watch time, which I thought was quite interesting.
It might be a bit of a game changer as to what we deemed to be successful. The podcast scene has exploded of late. I don't see it slowing down anytime soon. And the very fact that the Golden Globes just announced a new category, best podcast says all that needs to be said regarding the size of the industry when it comes to.
Podcasts and YouTube have definitely dominated. I think some of the top watch shows and love shows are technically podcasts, whether viewers deem it to be that or not, and I think this is them actually making a statement to creators and probably rivals that we are not the platform. Just to upload the video version of your podcast, we are the podcast platform.
Full stop. Yeah. So yeah, I think it'd be interesting to see if creators change up their strategies to be a bit more YouTube first, creative first. More oversized headphones coming neon signs.
Well, that's it. I mean, essentially there's not much difference in if we just got rid of these mics. It's a TV show, isn't it?
I mean, that's the, all of these formats are starting to make mix and meld and just create new amazing entertainment formats, right? So, okay. YouTube with their top 100 chart and, and how about your hero of the week, Amy?
Hero of the week is tech investor, co-founder of Reddit and Serena Williams' husband Alexis Hanian for investing 20 million in Chelsea Women's Football Club, which is a a huge moment for the club and also for the game more broadly.
There's definitely been a trend in celebrities attaching themselves to UK football. You've got Ryan Reynolds with Rex Mfc, you've got Tom Brady with. Birmingham city, LeBron James, Liverpool, Michael B. Jordan Will Ferrell with leads. He's one of the least investors leads. Exactly, exactly. So it's great to see the spotlight shift to the women's game where serious investment, arguably is much greater.
And I think with Alexis, we know it's not just about jumping on a trend. He's a major advocate for women's sports. Rina is his wife after all, and I think. He understands the power of community and brand building. When you think about Reddit, and I think he'll bring a Silicon Valley mindset to, to the game and hopefully bring networks and.
Brands that will supercharge the commercial growth and sustainability of the, of the women's game. And Chelsea are a powerhouse on the pitch. They just went and they just went and won the treble went unbeaten in the women's super league. I just think this is gonna be a game changer. Off off the pitch too.
Yeah,
it's really interesting 'cause obviously women's football in in the US is huge. It's one of the biggest women's sports out there as well. See what that combination of the big brand, the big tech investor and the successful team leads to. But uh, I have to say I'm not a massive f ch fan of Chelsea, but there we are.
We'll skip over, uh, over that. Who or what are you telling to get in the bin?
Getting the bin? No, I found this one hard because, uh, I don't like to think too negatively. Um. But I would say the potential threat of a bunch of festivals being canceled at Brockwell Park in South London. Oh yeah, I saw that.
Yeah. Including Mighty Hoopla, which is one of the biggest lgbtq plus festivals, and I think it was down to a recent high court ruling, found that Lambeth Council unlawfully approved a bunch of. Festivals without proper permission planning. And for me, this isn't about fun. I think especially for the queer community, this is just a great space for people to feel free, celebrated, and, and safe.
And so, yes, we wanna protect the green space and the local residents, but also we wanna protect the space of voice, voices that are often unheard and, and, and lift them. Is
it the residents then that are complaining or have, have lodged the complaint?
Yeah, it's to do with, they've got 28 days to use the temporary.
They've got 28 days to use the land and. It goes over when you factor in set up and and breakdown. And I know last year that was a bit of an issue with how, how the park looked after. So I think it is just a combination of that and not the proper approval. So I'm really hoping it will all sorts itself out.
Okay. Well we'll see, we'll see. Um, Amy, thank you so much for coming on TellyCast. It's been great to have you on the show. Hopefully we'll also see you at, uh, lots of TellyCast events coming up in the very near future. So thank you very much having, being on the show.
Cheers. Thanks.
Well, that's about it for another week's show, as always.
Thanks a lot for watching and thanks a lot for listening. TellyCast is produced by Spirit Studios and recorded in London. We'll be back next week with a host of the forthcoming TellyCast Digital Video Awards Max Foss. Until then, stay safe.
