Reflecting on the DPP Media Supply Festival in New York, and a few themes really stuck with me. Compared to previous years, the conversations felt more grounded — less about shiny futures, more about how the industry is adapting right now.
The supply chain isn’t just operations anymore
One of the biggest mindset shifts: people are finally seeing the media supply chain as something that spans from commissioning all the way through to consumption — not just the technical plumbing at the end. That broader framing makes a lot of sense, especially when you think about how creative, commercial, and operational decisions are all overlapping more than ever.
“Peak TV” is behind us…for now
There’s no denying it, TV production is down, and it’s shifting fast. Since 2022, production volume has dropped 20%. One surprising stat: the US is no longer in the top five destinations for upcoming productions. Tax incentives are changing where content gets made, timelines are getting shorter, and AI is starting to make smaller teams more capable. This isn’t just a slowdown, it’s a structural reset, as profitability remains challenged.
AI: less hype, more use
AI came up constantly, but what stood out is how practical the use cases are becoming. Execs are deploying tools like ChatGPT behind the scenes to automate routine tasks like scheduling and compliance, while also encouraging teams to come up with their own use cases. One area that seems full of potential is rights management — not the flashiest part of the business, but one where automation could really help.
Localization is where opinions are split. For instance, some are going all in on testing AI subtitling and captioning, while others are putting strict policies in place to keep AI out of the dubbing process entirely, mostly due to brand, ethical, or legal concerns.
Studios also shared their top 5 AI use cases:
- Post-production efficiency
- Voice cloning / ADR
- Pre-vis
- Script analysis and audience prediction
- Budgeting and planning
Feels like we’re close to a tipping point. All indications suggest that the next 6–12 months will be interesting.
The creator economy isn’t a side hustle anymore
One big takeaway: the creator economy isn’t just “emerging”, it’s reshaping the whole landscape. YouTube is now leading monthly US TV viewing (per Nielsen), and Gen Z identifies more with creators than celebrities. It’s no longer about creators disrupting the system, they are the system. And there’s now this push-pull between traditional media and creator-led platforms that’s reshaping what content even looks like.
Creative and commercial are no longer separate worlds
Another shift: roles are blending. Creators operate more like founders. Studios are combining editorial and monetisation under the same leadership. Finance teams are more embedded in content strategy, asking for data-led decisions from day one. It’s a different kind of thinking; more integrated, more entrepreneurial.
Less content clutter, more usable data
There was also a lot of talk about simplifying the mess. Duplicated files, messy archives, bad metadata wastes a lot of time. Streamlining archives and enriching metadata is now being seen as essential, not just nice-to-have. Especially when you’re trying to monetise IP quickly & efficiently.
Final thought
The vibe this year was very “get real.” Less about buzzwords, more about making progress in practice. The supply chain is broader, the creator economy is maturing, and AI is moving from talk to tools. Lots to reflect on – but mostly, it’s clear the industry is in the middle of real, meaningful change.
