How YouTube Stars Like Kane Parsons and Markiplier Are Changing the Game, According to Robert Franke

The rising popularity of YouTube content creators is starting to eclipse the established figures in the entertainment industry, according to seasoned German executive Robert Franke.

Recent film successes helmed by figures such as Kane Parsons, Curry Barker, and Markiplier have significantly bolstered cinema revenues.

During a discussion at Seriencamp, Franke expressed his concerns, describing the shift as “scary as hell” for the traditionalists who “once believed that funneling content into the distribution network guaranteed an audience.”

“Many of us from my generation are witnessing a decline in our influence, realizing that the golden era is behind us,” he explained at a panel called “Rethinking Story Development Through Culture Thinking” in Cologne. “The influx of capital into a limited selection of content is no longer the norm. Instead, we’re facing a vast fragmentation of choices.”

Franke criticized the outdated mindset of seasoned executives who might claim, “I know what’s best because I went to Harvard.” He emphasized, “Without the humility to acknowledge that your perspective might not resonate with other communities, you won’t be able to craft a genuine narrative. Being a part of something doesn’t mean you own it.”

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Franke also touched on the success of new YouTube stars and noted that while projects like Parsons’ A24 film Backrooms seem innovative, they still operate within the traditional system.

“Backrooms is a product of the conventional system, and everyone praises A24 for innovation,” he pointed out. “But remember, they are a studio that has strategically moved away from solely algorithm-based decisions to carve out a unique position.”

He noted that when traditional industry players stumble upon major hits like Adolescence, these often stem from what might initially seem like smaller, less risky bets. “Adolescence became a cultural phenomenon, emerging from the peripheries of mainstream platforms and was greenlit with minimal risk to the approvers.”

Before joining Intaglio Films as the head producer of The Swarm last year, Franke spent a decade with ZDF. He spoke at Seriencamp in Cologne alongside Steve Matthews, Banijay’s Joint Head of Scripted, Creative.

Matthews emphasized the need for traditional scripted sectors to expedite their development processes and draw lessons from the unscripted segment to capture the zeitgeist more swiftly. “Achieving quality that requires multiple drafts can be agonizingly slow,” he remarked. “We’re learning from the unscripted professionals who are amazed by how long our projects take to reach the screen.”

‘Heated Rivalry’: Including the Fans

Jeannette Bohné and Franziska Gregor from the German creative agency Serviceplan, which consults on marketing strategies for trending shows, stressed the importance of incorporating fans early in promotional campaigns.

They highlighted Heated Rivalry, the year’s most talked-about show, which successfully integrated its book fans from social media into its marketing efforts.

“It’s crucial not to just chase a topic,” Bohné added. “Simply saying, ‘Oh, queer people love romance too, let’s make a queer story,’ misses the point. It’s about finding narrative tension and authentically representing the subject matter from within. It all starts with the emotional truth of the story.”

Bohné expressed surprise at the notion that only queer men would appreciate Heated Rivalry, questioning, “How can you be surprised that women are interested in gay relationships?”

Seriencamp is set to continue until June 11, with Anke Greifeneder, dubbed Deadline’s German TV Disruptor of 2026, slated to speak next.