The international entertainment industry is set for a transformative year in 2025, with significant changes anticipated across multiple fronts. According to predictions made by the Deadline's overseas team, a series of key developments involving mergers and acquisitions, content innovation, and shifts in viewer tastes are poised to shape the landscape.
A major highlight on the horizon is the impact of RedBird IMI’s acquisition of All3Media, which is expected to generate considerable media attention as the new owners refine their strategy. This high-profile merger is part of a broader narrative of consolidation in the entertainment sector, with major players such as ITV, Fremantle, and Federation Studios reportedly exploring sale or investment options. Given the challenges of finding hit content in a contracting market, industry analysts anticipate the emergence of another content giant capable of rivaling existing conglomerates like Banijay and Endemol Shine.
In a more contentious arena, Elon Musk faces potential challenges for his social media platform X, which might soon be banned in an EU country. By the end of 2024, Musk had become embroiled in controversy as he took on new roles, including heading Donald Trump’s Department of Government Efficiency and paying a significant fine to resolve a suspension of X in Brazil. At present, the European Commission is concluding an investigation into whether X has violated the Digital Services Act, leading to speculation of a forthcoming ban which could considerably impact its presence at European film festivals.
On a cultural note, the internationalisation of U.S. awards is continuing to gain momentum. Recent accolades suggest an increasing admiration for non-English films, with several movies that debuted at the Cannes and Venice festivals now securing nominations for major awards, including the Oscars. As analysts ponder whether a record number of nominations from these festivals can be achieved in 2025, there is also excitement surrounding Tom Cruise’s potential return to the Cannes Festival with the release of the next Mission: Impossible film in May.
Expanding horizons are evident in Spain, where a growing number of production houses are making strides in the English-language television market. Notable companies like Mediapro and the Spanish arm of Banijay are increasingly directing their efforts and resources towards producing English-language series, suggesting that Spanish creativity will soon break into the English-speaking mainstream.
However, not all developments appear as rosy. Sky, once a major disruptor in the industry, finds itself in a tight spot as competition intensifies from well-financed U.S. streaming platforms, which are exquisite in their ability to acquire top-tier sports rights. The firm has discontinued some of its operations and now faces existential questions about its future relevance in a fast-evolving television landscape.
Meanwhile, Qatar's cinematic ambitions are set to be revitalised with the establishment of the new Doha Film Festival slated for November 2025. This event aims to replace the local Ajyal family festival, indicating a strategic pivot in the country’s cultural outreach. Local production houses are also rapidly progressing, with Katara Studios producing a slate of feature films, highlighted by efforts to create the nation’s first commercial movie. Additionally, Qatar’s beIN Media Group is gearing up for the release of Bridget Jones: Mad About the Boy, with significant stakes in this high-profile project.
Finally, in what could be viewed as a watershed moment for technology in entertainment, speculation abounds about the potential for an AI-generated drama to be produced in 2025. Following the expansion of OpenAI’s video generation tool, Sora, the possibility that AI can complement human creativity rather than replace it is sparking debate within the industry. Should this venture yield a successful project, it could herald a new chapter in the convergence of technology and creative storytelling.
These shifts and innovations are poised to redefine how entertainment is created, consumed, and understood, signalling a pivotal year ahead for the industry in 2025.
Source: Noah Wire Services