Industry analysts are watching a notable reallocation of money across the entertainment ecosystem. KPMG’s most recent content spend study shows that the total pool of dollars earmarked for media production hit $207 billion in 2025, a jump from $156 billion just four years earlier. The calculation aggregates costs linked to film and television production, licensing, sports rights, creator-revenue shares and music licensing. While the overall pie is expanding, the shape of that pie is changing dramatically, with traditional film-and-TV projects losing ground to live-sport deals and the burgeoning world of independent creators.
Overall growth in media content budgets
Even as some legacy players see flat or declining allocations, the sector as a whole is still on an upward trajectory. KPMG’s methodology captures expenses from the biggest names in the business—including Disney, Netflix, Paramount, Comcast, Amazon, Meta, and YouTube—allowing for a global view of where dollars are flowing. The $207 billion figure for 2025 represents a 33 percent increase over the $156 billion recorded in 2021, underscoring that audiences are demanding more varied experiences and that companies are responding with larger wallets.
Creator and sports content surge
Two categories are propelling the bulk of that growth. First, creator content now commands $46 billion of annual spending, a 75 percent rise from 2021. This segment includes revenue-sharing agreements with independent producers who generate short-form videos, livestreams, and other digital assets. Creator content is defined as material produced by non-studio creators that platforms monetize through ads, subscriptions or direct payments. Second, sports rights represent 29 percent of the total spend, up 59 percent since 2021, as services such as Netflix, Amazon, and Apple compete for live-event exclusives.
YouTube leads the pack
Among the platforms tracked, YouTube emerges as the single largest spender, allocating roughly $28 billion each year to a mix of original series, creator partnerships, and sports broadcasts. Amazon, Meta and other tech-centric entities are also on the rise, whereas traditional broadcasters and film studios—namely Paramount, Comcast and Disney—show relatively stagnant or modestly growing budgets.
Quotes from KPMG leaders
Frank Albarella, Jr., U.S. sector leader for media and telecommunications at KPMG, explains that “creator content is taking on a larger role in the content portfolio because it can build frequent engagement, attract highly engaged audiences, and create new opportunities for advertising and monetization.” He adds, “As the lines between creator-led and traditional entertainment blur, the question for media companies is how those formats work together to win consumer engagement and drive value.” Scott Purdy, media sector leader for strategy, emphasizes a “successful ‘super app’ starts with a clear view of what your audience values,” urging firms to blend content types to deepen loyalty.
Implications for traditional studios
In 2021, film, TV and streaming made up 71 percent of all content spend. The latest figures show that share has slipped to 64 percent, reflecting the twin rise of sports and creator-driven material. Studios such as Disney and Netflix are already trimming creator-specific deals while expanding their own in-house production capabilities. The shift suggests that premium scripted programming, though still the core of Hollywood’s identity, will occupy a shrinking slice of the overall budget matrix. Companies like Fox-Roku and Skydance will need to navigate a landscape where success hinges on integrating live-sport experiences, creator ecosystems, and traditional storytelling into a cohesive offering.
Overall, the data point to an entertainment world that is less dominated by the big-screen blockbuster and more influenced by the immediacy of sports events and the authenticity of independent creators. As media companies chase higher engagement, the balance of power may tilt toward platforms that can deliver a seamless blend of these experiences, turning the old Hollywood model into a more diversified, audience-centric engine.
