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YouTube Beats Kimmel’s Return Ratings – Massive Viewership Numbers Revealed

by Rachel Kim – Technology Editor October 8, 2025

written by Rachel Kim – Technology Editor

‘Jimmy Kimmel Live!’ ABC Ratings Pale in Comparison to YouTube Viewership, YouTube Exec Claims

ROME – The return of Jimmy Kimmel to Jimmy Kimmel Live! generated a significant ratings boost for ABC, but YouTube’s Head of Business Strategy and Operations, EMEA, Luca Forlin, asserts the show’s performance on the Google-owned platform far exceeded its linear television viewership. Speaking today at MIA Market in Rome,‌ Forlin highlighted the disparity as a demonstration of YouTube’s reach and ‍potential for content creators.

Kimmel ‌resumed hosting his late-night show on September 23, following a suspension related to comments made regarding Charlie Kirk. While the episode drew 6.5 million live+same day viewers – becoming ‌ABC’s second-most watched episode ever – the YouTube version, titled ⁤’Jimmy Kimmel is back!’, amassed 22 million views within two weeks of its broadcast. Additional related videos further contributed to YouTube’s overall audience gains.

“It was a huge moment, and he had‍ a huge audience spike, but even that audience spike on linear paled in ‌comparison to what YouTube gained in‍ terms of audience,” Forlin⁤ stated. He described a typical “multiplier ⁣effect” of 4x to ⁣10x between linear and YouTube viewership for live streaming and live events.

Forlin used the Jimmy Kimmel Live! ⁣ example to encourage Italian producers and creatives ⁣to explore opportunities on YouTube, including content monetization and ⁢platform-specific growth. He further illustrated YouTube’s rapid scale by comparing Netflix’s viewership of Squid Game to a similar recreation by top YouTuber MrBeast.

“Netflix had ‌announced after six months ⁣that about 400 million ⁢people had viewed the series,” Forlin explained. “MrBeast replicated⁢ with his ⁤own Squid Game, and it took only a few weeks to ⁤reach 400 ‌million viewers. That’s ⁣the speed and scale that YouTube operates at, and it’s⁣ there for you.”

October 8, 2025 0 comments

Entertainment

Silicon Valley’s John Altschuler On Europe’s Issue With Showrunners

by Julia Evans – Entertainment Editor October 1, 2025

written by Julia Evans – Entertainment Editor

‘Silicon Valley‘ EP John Altschuler⁣ Says European Market Craves authenticity American Showrunners Lack

CANNES, FRANCE ⁤ – John Altschuler, ⁣executive ⁣producer and writer for HBO’s Silicon Valley, asserted that European television executives are ⁢actively seeking showrunners with a distinct creative vision currently lacking in teh‌ American‍ market. Speaking at⁢ a recent industry event, Altschuler highlighted a ‍cultural difference in approach⁣ to storytelling, suggesting‍ European‍ broadcasters value a unique viewpoint‌ over established formulas.

“They don’t have here, and there is also a ⁣feeling towards art and‍ culture we don’t have in America,” Altschuler⁤ saeid.‍ “Bringing them together is something a little ⁤more captivating, and ‍that is how I believe we will succeed in the marketplace.” He believes this appetite for originality presents a significant opportunity ⁣for‌ American creatives.

Altschuler revealed ‍he is currently developing a series based on‍ The Gangster’s Guide to Sobriety: My Life‍ in 12 Steps, a book‌ he co-wrote with Dave Krinsky and Richie‌ Stephens. He added, ”That’s‍ why I’m in⁢ town.”

The producer also reflected on his experience working on ‍ King of the Hill, recalling a strong connection with co-creator Mike Judge based on their shared⁢ middle-class backgrounds.⁤ “We⁢ hit off right off the bat,” he said. “He had a similar background to me. We had a horrible stink of the middle⁣ class. In Hollywood, they despise ⁤the middle ⁢class.”

Altschuler and krinsky eventually became showrunners for five seasons of the Fox show, working ‍with high-profile talent including Brad Pitt, ⁤Ben Stiller, and Jennifer Aniston. “It was fantastic,” he said.”I ⁢worked with everyone from Brad⁤ Pitt to Ben⁣ Stiller ‌to⁣ Jennifer Aniston, as it was a⁣ show everyone ‌wanted to be on. It opened up so many doors for us to create our own shows and do our own features.” He⁤ noted a loss⁣ of “the structure of the business” compared to that era.

The success of King of the Hill led ⁤the trio – Altschuler, Judge, and Krinsky – to Silicon Valley, driven by a desire to accurately portray the tech world. “Nobody was doing anything about technology,” he explained. “The closest ‌was Big Bang Theory, which ⁤was just about geniuses and didn’t get it right, and when ‌Dave, Mike Judge ‌and I do something we try to get it right, so that’s why I did Silicon Valley.”

After⁣ conversations with Silicon Valley executives who claimed their primary motivation‍ was “making the⁤ world a better place,” rather than profit, Altschuler described the⁣ tech leaders as “horrible people…greedy, ravenous, terrible people,” adding, “I like big targets.”

Addressing the impact of the 2023 labor strikes, Altschuler acknowledged ⁣the industry ⁢has “always been ‌a game of chance,” but that success remains attainable despite increased uncertainty. “You have as much chance to succeed as ever it’s just a little‌ more unclear of how to get there. With more avenues [available] it is⁤ the good and⁤ the bad.”

October 1, 2025 0 comments

Entertainment

Berlin ER Maker Reveals How Apple TV+ Rescued Hit Series

by Julia Evans – Entertainment Editor September 17, 2025

written by Julia Evans – Entertainment Editor

“Berlin” ER Maker On How apple TV+’s Medical Drama Was ⁣Resuscitated

COLOGNE – The ⁣German Television Awards (Deutscher Fernsehpreis) saw Berlin, the medical drama⁣ initially sidelined by Sky, celebrated as Best Drama Series ⁤-⁢ a victory fueled by a complex rescue ‍operation involving ZDF Studios and ultimately, Apple TV+. Producer Eric Kamm of ⁤Real Film detailed the rollercoaster journey to save the series, ⁤revealing a pivotal‌ moment where raw emotion unlocked ⁣a deal‌ with‌ ZDF.

The series, starring Haley Louise Jones and Slavko Popadić as doctors at Berlin’s most overcrowded hospital,‌ faced ⁢an uncertain future when⁤ Sky paused production funding. Kamm immediately froze production accounts upon learning of Sky’s potential exit, but a contact at Sky clarified‌ the ‌show hadn’t⁤ been officially cancelled, opening a window for Real and co-production partner Violet Pictures‍ to ‍seek⁢ alternatives.⁢ “It‌ was a‍ fascinating journey and it‍ has been a huge rollercoaster emotionally,so intense in terms of the energy you have to put⁤ out to ‍find new potential partners,what makes sense for whom,and we ‍really focused on what was most plausible,” Kamm said.

Negotiations ‌to move the project from Comcast-owned Sky to pubcaster ZDF began, with Kamm praising Sky’s ‌team ⁣for thier cooperation during ⁢a period of internal change. However, he quickly realized ZDF’s ‌investment would only cover⁤ a portion of Sky’s prior commitment. “Something‌ flipped, and I got super emotional,” Kamm explained. “It was overwhelming.” he then passionately‍ defended‌ the ‍production, a ‍move that‌ proved decisive. “Maybe, showing your true self at some point⁢ is the one thing that makes things happen,” Kamm reflected. “That was the craziest thing I learned.”

The deal‍ with ZDF paved the‍ way for an intricate rights agreement with Apple TV+, granting the streamer ‌a 12-month exclusive ⁢window ⁣before the ⁢series airs ⁤on ZDF. News of apple TV+’s involvement broke in June 2024. The series’ success culminated last week with a second season commission, announced⁤ the day after its German television Award win. Accepting the award,Kamm publicly ⁣thanked ZDF for rescuing the show ⁤and‌ Apple⁢ for expanding its audience.

September 17, 2025 0 comments

Technology

Netflix Were “TV Tourists,” Says Channel 4’s Louisa Compton

by Rachel Kim – Technology Editor August 20, 2025

written by Rachel Kim – Technology Editor

Netflix Accused of ‘TV Tourism’ as Industry Debates ⁤Streamer Influence

Table of Contents

Netflix Accused of ‘TV Tourism’ as Industry Debates ⁤Streamer Influence

Edinburgh, Scotland – A sharp critique of Netflix’s commissioning practices emerged at the‍ Edinburgh TV Festival, with Channel 4’s Head of News, Current ⁣Affairs and Sport, Louisa Compton,⁤ accusing the streaming giant of acting as “TV ⁤tourists.” The dispute centers on the success of the drama series Adolescence, a co-production that has become a major hit for Netflix.

Channel 4 Claims Role in Nurturing ‘Adolescence’ Talent

Compton asserted that Channel 4 played a ⁣crucial role in developing the⁣ talent behind Adolescence, specifically co-creators Jack Thorne and Stephen Graham. She emphasized the network’s long-standing commitment to thes creatives,citing Thorne’s previous work on Channel ⁢4 shows ⁣like This is England ’86 and Help,both featuring Graham. “We’ve developed and nurtured the talent that has allowed Netflix to come in⁢ as TV tourists and effectively commission[[[[Adolescence],” ⁤Compton‌ stated. “Without us that wouldn’t have happened.”

This sentiment⁤ reflects a broader concern within the British⁣ broadcasting industry regarding ⁢the increasing influence‌ of global streamers and their impact on locally-produced content.

Did‍ You Know?

Co-productions, where multiple broadcasters or ‍platforms contribute funding and creative input, are ‌becoming increasingly common ⁤as a way to finance ambitious television projects.

The Divide Between Streamers and Public Service Broadcasters

Compton further distinguished Channel 4’s commitment to current affairs‍ programming from Netflix’s approach, arguing that streamers primarily focus on retrospective content.”We nurture where the streamers don’t,” ‌she explained. “Where are the investigations on the streamers into Gaza ‌or Trump? There’s no current affairs on the streamers. Everything is retrospective. [Current affairs] is a unique‌ thing PSBs offer.” This highlights the core mission of public ‌service⁣ broadcasters (psbs) like Channel 4 to provide informative and investigative journalism.

Adolescence currently ranks as Netflix’s second most-watched English-language show.‌ Industry executives have acknowledged that the production’s budget would have been prohibitive for traditional broadcasters without co-financing arrangements.

Concerns Over International Funding and Creative Control

Simon Heath, Executive ⁤Producer of line of duty and head of World Productions, echoed Compton’s concerns, warning‍ that an overreliance on international funding could ‍compromise the types of stories British producers are ⁣able to tell. “What‌ happens is you change the nature of the‌ show you are trying to make with more than half an eye on the international market,” Heath explained. “The risk is that the chase for international funding fundamentally alters the kinds ⁢of stories we can tell.”

Heath noted that while co-productions, such as the BBC-Netflix drama the Bombing of Pan Am 103, can be beneficial, they are becoming less frequent as streamers increasingly prioritize fully-owned content. World Productions, founded on a principle of ⁢”low cost drama that‍ gave ⁢us creative control,” is now considering a return to its roots, despite the ⁤rising expectations for cinematic production values driven⁣ by ⁣streaming services.

Pro Tip:

Understanding the different funding models in television – from traditional broadcasting to streaming and co-productions – is crucial for navigating the evolving media landscape.

Channel 4’s In-House Unit Sparks‌ Debate

The debate also extended to channel 4’s newly established in-house productions unit. John McVay, outgoing CEO of producer trade body pact, ⁢labeled the unit “wrong” and a “waste of ‍time and executive attention,” questioning its potential impact. Compton defended the unit, clarifying ‍that it was mandated ⁢by the government and designed to support the independent production sector. “Everything we do is for the indie sector, and ‌a robust⁣ and healthy channel 4 is good for the indie sector,” she asserted.

Key Figure	Role	Affiliation
louisa Compton	Head of News, ⁤Current Affairs and Sport	Channel 4
Jack Thorne	Co-Creator	Adolescence
Stephen Graham	Actor & Co-Creator	Adolescence
Simon Heath	Executive Producer	World Productions
john McVay	Outgoing CEO	Pact

The discussion took place at the opening debate of the Edinburgh‌ TV Festival, attended by prominent ⁤industry figures including ‌Shonda Rhimes, Tina Fey, and Graham Norton.

The Evolving Landscape of Television Production

The tension between ‍traditional broadcasters and streaming services represents a important shift in the television industry.The rise of streaming has⁣ disrupted established funding models and⁣ creative processes,leading to both opportunities and challenges for producers and content creators. The debate over “TV tourism” highlights the importance of ⁣nurturing local ‌talent and maintaining a ⁢diverse range of programming, including current‌ affairs and investigative journalism. As the industry continues to evolve, finding a enduring ‍balance⁣ between commercial interests and public service obligations will be crucial.

frequently Asked Questions About Netflix and UK television

What is “TV tourism” in the context of streaming services? It refers to streamers commissioning shows in⁢ countries without significant long-term investment in local talent or infrastructure.
How‌ does Netflix’s commissioning process differ from traditional broadcasters like Channel 4? Netflix typically focuses on acquiring or producing content for a global audience, while Channel 4 has a public service remit to provide programming for a UK audience.
What‌ are co-productions and why are they becoming more common? Co-productions involve collaboration between multiple broadcasters⁢ or platforms to share the financial burden and creative ‍input of a project.
What is the ⁤role of public service broadcasters (PSBs) in the UK? PSBs like Channel 4 are required to provide a range of programming, including news, current affairs, and educational ⁣content, that serves the public interest.
How is international funding ‌impacting‍ the types of stories being told on British television? ‍the pursuit of international funding can lead to a focus on stories with broader appeal, possibly at the expense of more localized or niche narratives.

What are your thoughts on the role of streaming services in the UK television industry? Share your⁣ opinions in the comments below!

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August 20, 2025 0 comments