AliLeo Media’s Greta D’Este-Donelan on crafting winning content strategies for brands

Greta, it’s great to connect. Can you give us a brief introduction to AliLeo Media and the focus of your business?
AliLeo Media is an independent agency that acts as a full-service growth partner for brands seeking to build deep audience connections. Our core offering is global content distribution across all platforms – TV, digital and cinema – however, unlike traditional distributors, we provide a complete, end-to-end set strategy.

Beyond distribution, we integrate localisation, advertising, licensing and consumer products activations. Generation Alpha is at the heart of our focus, but we also engage broader audiences through genres like anime and music. This approach allows us to connect brands with both younger and wider generations, creating sustained, cross-demographic impact.

What was the motivation for setting up your business?
The motivation for founding AliLeo grew from two decades of in the industry, working for giants like Warner Bros., Paramount, Cartoon Network and Nickelodeon, on iconic franchises like Harry Potter, SpongeBob SquarePants and many others.

I saw a gap: brands lacked a partner who could connect every step of the value chain, reducing frictions between functions across content, localisations, consumer products and licensing, advertising and driving holistic success. AliLeo was built to provide exactly that – a holistic approach, rooted in storytelling, that empowers brands to thrive.

I also recognised that, as businesses aim to expand their competencies and reach, they need trusted partners to act as an extension of their team – bringing in specialised expertise and accelerating goals either on specific projects or whole areas of the business.

How do you build a content strategy with your clients? Is there a set process you follow when onboarding a new client?
Each brand we partner with is unique, so we tailor the content strategy specifically to them. Our approach depends on where the brand is in its lifecycle and its core DNA.

We begin with a deep discovery phase, where we get crystal clear on their short-, medium- and long-term goals. These goals shape the key milestones and touchpoints of the strategy and pinpoint additional services – like licensing, localisation, or consumer products – that can amplify their impact.

Equally crucial, we align on what success looks like for them – whether it’s audience growth, reach, or sales. With this clarity, we can craft a bespoke roadmap that connects their vision to their audience – across every stage of the value chain.

Your model links into other areas of IP owners’ businesses like consumer products. How do you think rights owners can use content to bring in more licensees and partners?
Content integration across live events is something that is currently untapped. I was fortunate to contribute to the commercial development of Nickelodeon’s SLIMEFEST, a live interactive event where kids took centre stage. It served as a powerful brand extension to Nickelodeon’s DNA, bringing to life its content – from talents, characters, content creators and music. Live events deliver social experiences that not only boost revenue but also set brands apart and build memories that can last a lifetime.

Another area we’re excited about is Event Cinema, which is any strategic use of the theatrical window to showcase alternative content – or content that isn’t traditional blockbusters, such as aggregated episodic animation, concerts or even live-streamed events. It gives audiences a fresh way to engage with content on the big screen and opens up new revenue streams for IP owners.

“Short, snackable content is a fantastic discovery tool – but also keeps audiences engaged over time.”

I got my start with Event Cinema by bringing PAW Patrol to the big screen to meet their audiences in cinemas. And I’m thrilled to announce a collaboration with Outfit 7 to bring their characters to the big screen in the UK and Europe in 2026.

Lastly, gaming remains a key trend for Generation Alpha, so I would encourage any IP to explore licensing or partnership opportunities in this sphere, to allow kids to discover and engage with brands through interactive gameplay or virtual merchandise in digital worlds.

Thinking about children’s media and content, where are they going these days to find their favourites?
Right now, young demos are following their passion points and favourite content across multiple platforms, moving fluidly between formats and services. To engage with them, brands need to be literally everywhere, from linear TV to YouTube and into the gaming platforms such as Roblox and Minecraft, which are key for discovery and interactions.

Of course, access to YouTube holds a critical place when it comes to watching new or favourite content. However, we know that 20% of these instances take place on a TV set in the UK for Generation Alpha. In my view, this makes YouTube a TV destination.

This suggests that a successful content distribution strategy relies on the presence across multiple touchpoints, based on how the audience consumes content, and not by excluding some services in favour of others… A mix of TV and YouTube, for instance, would allow for a seamless watching experience on a TV set.

Can you tell us more about the formats that content owners should be thinking about developing to make their content more attractive and engaging?
When it comes to Generation Alpha, brands are essentially competing for screen time across diverse platforms, each demanding distinct formats to ensure seamless brand presence.

An audience-centric approach means recognising that 48% of Gen Alpha also game while watching TV, indicating a strong multitasking trend. So, I urge brands to invest in the pre-production phase of their content strategies, future-proofing their efforts by ensuring the right format is delivered at the ideal time across any platform.

Short, snackable content, for instance, is a fantastic discovery tool – but also keeps audiences engaged over time. In my view, vertical formats stand out – they perfectly match how young audiences swipe, discover and connect with bite-sized content.

On this topic, it’s worth mentioning ‘Verts’ – a new vertical mobile-first offering recently launched by Disney+. It really capitalised on this trend and is a smart move. Verts is essentially a vertical video feed that allows the audience to swipe through short clips of the Disney titles. This is aimed to a mobile-first audience, and it’s all about offering quick and personalised discovery.

You are working with Korean animation studio Sunwoo & Company and their IP Supertrons. Can you tell us more about this? And why do you think Korean content seems to be working so well in Europe at the moment?
I was instantly drawn to Supertrons because it’s built around kids’ passion points, its characters are diverse and the plots are fresh and unpredictable. The brand also excels in toys, with a rich product lineup perfectly synced to the story.

I have long admired Soonwoo & Company, a powerhouse in Korea, known for their premium productions. We have partnered to bring Supertrons to new fans, distributing across Western Europe and the US, and making toy distribution seamless.

More broadly, Korean content is thriving in Europe and globally because there is a genuine focus on storytelling over formula, and that freedom resonates. It’s made for the audience and that authenticity drives its global success.

When you are deciding what content to represent, are there key factors you take into consideration?
We focus on building deep partnerships with each client, starting by understanding their brand DNA, creative motivations, and audience focus. We look for rich, data-backed storytelling and a clear global ambition. Diversity in characters and a strong audience connection is key – we want series with longevity and potential for consumer products and licensing. For us, it’s about a truly audience-driven long-term franchise vision.

Let’s talk trends! What emerging trends are worth paying attention to when it comes to content?
I have seen strong trends around passion points such as gaming, customisation achieved via AI tools, and passion points pursued within niche communities.

Crafting as a trend is here to stay as a subject matter, giving young audiences the chance to create and express themselves, not just consume. It also fulfils the desire to belong to niche communities with shared interests. It’s about identity and creativity, with discovery happening inside digital platforms such as YouTube – no surprise here!

Another strong trend is music, which provides a strong interactive platform of engagement, with songs tied to memes, games and even values-driven creators.

A final trend worth mentioning here is that even though digital streaming dominates Gen Alpha’s consumption habits, we have seen a surprising resurgence of physical formats – from CD to vinyl… Even if their daily habits are mostly digital. So brands that want to stand out in this sphere should offer both physical and digital formats and tap into this duality.

Last question! If you were curating your own viewing schedule for an evening, what content would you select to view and why?
My viewing schedule is a real mix! It’s a balance of catching up on favourite shows across different platforms and discovering new ones. I tend to flip between linear TV, SVOD platforms and YouTube, depending on when I’m watching. In the evenings, I tend to catch up on my favourite shows and discover new ones, and during the weekend, I like to binge on my favourite content creators on YouTube – and the odd sprinkle of Hayu shows…

Currently, my favourite shows are Our Neighbours and Friends, along with Pluribus, anything Yellowstone-related and Palm Royale. So I keep my subscription pretty wide-ranging as I love content across so many genres.