Aug 20, 2026 · 1 hr · 12 segments
0:00 – Who is Shelley Macintyre, and what does BBC Studios' Brands & Licensing division actually do? 1:10 – What does "show to shelf" mean in practice? 3:00 – How did a career at Unilever…
Shelley McIntyreGuest
Joe CondonHost
Gabrielle GeisingerHostIt seems a little bit like in reverse to what you're doing with BBC Studios, where you're talking about building storytelling and emotional connection to a product, whereas what you're doing now is sort of, there are fans who already have that emotional connection in a lot of cases to archival IP or new IP coming out, you know, regenerated IP.
And you're trying to figure out how to expand that into different pathways, right? Different entry points.
How do you know, when you're dealing with so many sort of varied IP, because BB Studios has, you know, a wide range of genre and type and, you know, from fiction to nonfiction, and then within that, you know, layers and layers and layers, how do you sort of strategize around the ways in which you can take it from screen to shelf and what might fit with one that, you know, a game might fit here, an animated series might fit here, when you've got so many different types of story that you're working with?
So we would start with who are the different audience segments and what are those audience segments interested in? What communities are they already participating in? Are there IPs slash shows in a similar genre who are doing similar things? We wouldn't seek to replicate what others are doing, but also you do look to the market to see where success is and see where demand is.
um and then based on being clear-eyed about who the audience is what's their need what's their interest area um our digital team in particular will work with our production team to look at what to really go deep into the storytelling and um how can how that storytelling travels into social video um and getting really clear on how we're building cultural relevance first, through which formats on which platforms, what's the role of the platform? Is it discovery or is it to deepen fan engagement? And then once the cultural relevance KPIs are showing good signs of movement, then we look to convert that into the fan demand.
So when I say fan demand, I'm thinking things like our CRM programmes subscriptions that will be driving traffic to our owned and operated website so that we can we give people more depth to what they're experiencing with the IP and then it's the commercial conversion comes last so if we're not seeing the cultural relevance shifting in the way that we'd like it to, then it's a case of experimentation, A-B testing, maybe we haven't attached the right cultural moment or there's a sharper expression of the storytelling for the platform that we need to work on.
If the cultural relevance isn't scaling and people's engagement isn't... deep enough when then we're not going to be able to convert into the fandom art so it's step by step um but what's the way we like to look at ip is the earlier that we that my team engages in the creation of an idea the better because there's usually patterns particularly on kids um kids shows patterns that we can start to think about through the storytelling to influence then the outcomes later down the value chain um so That's how we look at it.
It seems a little bit like in reverse to what you're doing with BBC Studios, where you're talking about building storytelling and emotional connection to a product, whereas what you're doing now is sort of, there are fans who already have that emotional connection in a lot of cases to archival IP or new IP coming out, you know, regenerated IP.
And you're trying to figure out how to expand that into different pathways, right? Different entry points.
How do you know, when you're dealing with so many sort of varied IP, because BB Studios has, you know, a wide range of genre and type and, you know, from fiction to nonfiction, and then within that, you know, layers and layers and layers, how do you sort of strategize around the ways in which you can take it from screen to shelf and what might fit with one that, you know, a game might fit here, an animated series might fit here, when you've got so many different types of story that you're working with?
So we would start with who are the different audience segments and what are those audience segments interested in? What communities are they already participating in? Are there IPs slash shows in a similar genre who are doing similar things? We wouldn't seek to replicate what others are doing, but also you do look to the market to see where success is and see where demand is.
um and then based on being clear-eyed about who the audience is what's their need what's their interest area um our digital team in particular will work with our production team to look at what to really go deep into the storytelling and um how can how that storytelling travels into social video um and getting really clear on how we're building cultural relevance first, through which formats on which platforms, what's the role of the platform? Is it discovery or is it to deepen fan engagement? And then once the cultural relevance KPIs are showing good signs of movement, then we look to convert that into the fan demand.
So when I say fan demand, I'm thinking things like our CRM programmes subscriptions that will be driving traffic to our owned and operated website so that we can we give people more depth to what they're experiencing with the IP and then it's the commercial conversion comes last so if we're not seeing the cultural relevance shifting in the way that we'd like it to, then it's a case of experimentation, A-B testing, maybe we haven't attached the right cultural moment or there's a sharper expression of the storytelling for the platform that we need to work on.
If the cultural relevance isn't scaling and people's engagement isn't... deep enough when then we're not going to be able to convert into the fandom art so it's step by step um but what's the way we like to look at ip is the earlier that we that my team engages in the creation of an idea the better because there's usually patterns particularly on kids um kids shows patterns that we can start to think about through the storytelling to influence then the outcomes later down the value chain um so That's how we look at it.
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