Broadcast Tech speaks to UK & Ireland managing director Alison Lomax about what’s next for the streaming platform
YouTube is quickly becoming one of the most important platforms for broadcasters and production companies alike, converging with TV in both production values and talent.
YouTube’s UK & Ireland managing director, Alison Lomax, noted to Broadcast Tech, “From what I hear from creators, the relationship has changed. Historically, they would be asked to feature in something, almost like an accessing an audience, whereas now it is much more collaborative in terms of content creation as well, with the scripting and the crafting of it.”
This goes both ways, and includes behind the camera too. “What we’re seeing now is a two-way street for talent. Traditional celebrities and media figures are launching YouTube channels, and YouTube creators are increasingly working with broadcasters and streamers.
“Anecdotally, I’m hearing of more [crossover in roles] now. I’m hearing the producer role is quite fluid, particularly for podcast content. However, while you can easily hire somebody who’s got radio or TV experience as a producer, the editorial side of things is completely different, and it’s a completely different skill set.”
That said, YouTube is helping creators to upskill and partnering with the likes of the National Film & Television School to create qualifications that combine the two areas, both editorially and technically. It also has existing programmes of its own, and creators such as Amelia Dimoldenburg, Fellas Studios, and Lucy Edwards all have their own initiatives.
This is part of a wider push to help creators in the UK, started by its Creator Consultation this summer, which recommended business-related incentives from government such as easier financing and filming opportunities in addition to training and wider recognition of creators’ impact on the UK economy. The UK is the first territory YouTube is running this in, with expansion to others a possibility, and Lomax revealed it is in, “constructive conversations,” with government about its recommendations.
This is only, “The first stage of lifting the bonnet and understanding what creators need to drive the next stage of growth, to understand the creator economy and how that can be a growth driver for the UK creative industries,” with the next steps to be revealed imminently.
Lomax enthused about the UK’s creative pathway, which has largely been created by TV. “NFTS is very exciting for us, because it’s starting to test the water and understand the convergence of the YouTube creator talent and skills with the amazing craft of the UK creative industries. The ecosystem that we have around TV and film here is unbelievable.”
The growing crossover has seen the conversation move into what broadcasters should do. Since Ofcom’s 2025 Media Nations report saw YouTube viewership overtake ITV, there has been talk of how PSBs and other broadcasters need to change their approach to the platform.
For Lomax, the relationship should be complimentary, with the platform ready to promote British broadcasters and their content not only within the UK but also around the globe.
She explained, “We really see our role as very complimentary and partnership-based with the entire creative industries ecosystem and broadcasters.
“We’re a distribution platform. What we can do is provide a global stage for UK creative industries from both a talent and content perspective. Over 85% of content from a UK partner or creator is actually viewed overseas, so it’s an amazing export platform.”
In terms of how this works, “Sport is a really good example. People still gather around watching live sport on traditional broadcasters like Sky, the BBC or ITV. Then it’s around the 90 minutes, whether that’s the pre-interviews, the highlights, or a podcast, that’s the action that they’ll watch on YouTube.”
When it comes to giving extra prominence to PSBs, as Ofcom and culture secretary Lisa Nandy have called for, Lomax is clear that they’ve, “been working really closely with [the government and broadcasters] since before [the Media Nations report]. Nothing has changed since then. Our focus is on user value and protecting the vibrant ecosystem - that’s creators, partners and viewers. We want to ensure that broadcasters are successful and reach new audiences, whether that’s younger audiences or as audiences abroad.”
YouTube’s work with broadcasters has seen Channel 4 commissioning digital-only content for a long time and continuing to create new formats, and more recently ITV has been publishing full Coronation Street episodes on the platform with success. Meanwhile, the BBC has seen incredible success with Bluey. This can be lucrative for broadcasters, with it recently revealed that YouTube has paid over $100 billion (£73.4bn) to creators, artists, and media companies globally over the last four years.
These kinds of collaborations are seeing YouTube and traditional TV continue to converge, but Lomax points out that, “Equally, there are a lot of areas that are unique. High-end episodic content, you don’t find that on YouTube. They are still the domain of the traditional TV broadcasters. There are also areas which are very YouTube only, some of the UGC (User Generated Content).
Non-scripted is where the YouTube and TV crossover is most obvious, but initiatives such as that with the NFTS previously mentioned could see this change, Lomax believes, although she says YouTube won’t encourage any specific formats onto its platform. “A lot of YouTube content is non-scripted, but it will be really interesting to see what comes out of it. Whether there’ll be different, different formats that that are created.”
Overall, while this convergence continues, Lomax assured that they are still, “looking to expand our partnerships with creative industries,” and that there is an important place for broadcasters on YouTube.
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