Media owners, publishers and rights holders

Most in-house studios grow up reactive. They're built to answer briefs, so they're always busy but rarely in control of what they make or what it earns.

I work with leadership to give the studio a clear purpose and a model to match: what it makes, who it makes it for, how it's resourced and how it makes money. The aim is a team that leads the conversation with advertisers, rather than waiting for the next brief.

E Studio, Expedia Group Advertising. I've shaped the studio's strategy, commercial model and creative output since 2021. In 2026 it was named Digiday's In-House Content Studio of the Year.

Bespoke feels like good service, but it caps growth. Every idea starts from zero, every price is a negotiation, and nothing builds value over time.

A slate changes that: repeatable formats an audience comes back to, advertisers can plan around and sales teams can sell with confidence. I build the slate with editorial and commercial teams together, then sets the pricing and production partnerships that let it scale.

The best branded entertainment isn't a compromise between advertiser and audience. It works because it starts with what the audience wants and finds the brand's role within it.

I shape ideas on that principle, across video, editorial, audio and live, and makes sure they travel: connected to the editorial, social and owned channels that give a partnership its real reach.

Rights are finite. Sponsor expectations aren't. Logo placement and badged programming no longer justify the fee, and in-house teams are stretched delivering the core event.

Story-led formats change the equation. Built for sponsors and owned by them, they create new things to sell, give partners something worth sharing, and tell the stories the live coverage never has time for.