Generative AI’s Leap—from Indie Labs To Global Screens

Watch Killer Kings Now

Max Einhorn

The global entertainment and media industry reached about $2.9 trillion in revenue in 2024 and is projected to hit $3.5 trillion by 2029, according to PwC’s Global Entertainment & Media Outlook 2025–29. Bloomberg Intelligence projects the generative AI market could reach about $1.3 trillion by 2032. Against that backdrop, a new history series, Killer Kings, premiered Summer 2025 on Sky HISTORY. Killer Kings fuses true crime with history to put six notorious rulers—from Henry VIII to Caligula—back on trial. Each episode reopens the case, testing fresh and conflicting evidence to ask: monster, or product of the moment? Produced by FirstLookTV and distributed globally by Sphere Abacus, the series—which producers say is TV’s first fully AI-generated documentary—uses AI-crafted reenactments created by Gennie, the generative-AI content studio focused on documentary and non-fiction, to rebuild courts, palaces, and battlefields with startling realism.

FROM DEMO TO BROADCAST

In my new video interview with Max Einhorn, the Gennie cofounder puts the problem plainly: “It takes hundreds of thousands of dollars to make a reenactment that looks good, millions of dollars to make it look great… Generative AI does give this new sort of freedom that for a fraction of that cost, you can produce things that look really excellent, that just draw the audiences in.” His north star for nonfiction is just as clear: “Enhance, not replace creativity.” And his advice to the industry is urgent: “Anyone who is curious about AI and has not started to use it should start to be using it as soon as possible… to keep up with that pace of innovation, you need to start participating in it.”

WHY IT GOT COMMISSIONED

Daniel Korn, vice president of programming at Hearst Networks EMEA, says the pitch paired a psychological lens—testing whether each ruler was shaped by circumstance or showed true pathology—with AI-driven visuals that brought each era to life. “It was an excitingly original approach… plus the terrific visual concepts First Look and Gennie presented, courtesy of AI, to bring each respective period to life.”

On risk, he says, “It didn’t feel like a huge risk because of the collaborative nature of the working relationship with First Look and Gennie… we were kept informed every step of the way. There was a strong relationship of trust from the get-go and throughout.” Audience response was “incredibly positive,” and the AI-assisted visuals “meant that the pacing and rhythm of the show was very propulsive and satisfying.” Looking ahead: “Without doubt, a fundamental shift… significantly higher production values on a much more cost-efficient basis.” It also “promises a bright and bold new horizon for producers and networks alike.”

INSIDE THE INDIE WORKFLOW

FirstLookTV — the production company and owner of Killer Kings — approached the brief with creative integrity first, says Will Hanrahan, cofounder and editor in chief at FirstLookTV. “It was more a question of asking how could AI give us a creative edge given our determination to ensure the integrity of the content. We were challenging the technology to prove its content was fair and safe to use… after a lot of trial and error, I think we have produced some great material.”

The budget was a by‑product. “Saving money was not the aim. Advancing creativity was,” he says. “Representing medieval Kyiv, England and ancient Rome became possible and that did mean big savings… we still needed our crews on the ground to collect the original material for AI to use. So big savings, but not necessarily low spending.”

On creative impact: “It expanded considerably our creative options or there would be no point to it. It’s fun to challenge what is, in effect, a new ‘paint‑brush’ for us to use. When it comes to storytelling, we do not compromise.”

STUDIO-SCALE ADOPTION

Studios are moving AI from pilots to practical use, pairing targeted production shots with platform improvements. Tom Hume, director of product management at Google DeepMind, says the near-term shift is creative latitude, not gimmicks: “We’ve heard filmmakers talk about how it’s a challenge to get the backing to make certain scenes happen, like a car chase or helicopter crash. Now with Veo and tools like Flow, they’re only limited by imagination, not budget.”

Guardrails remain part of the brief. “We have very clear policies for the users of our tools, which set these expectations out – for instance, they shouldn’t make anything illegal or inappropriate.”

His advice to independents mirrors the workflows in this piece. “We’re still early in generative AI, so experiment and see where it’s most useful for you. Maybe it’s a helpful tool to iterate quickly during your concepting and storyboarding phase, or maybe it’s the exact tool you need to bring to life the imaginary world you’ve been dreaming up – only you can know.”

PUBLIC BROADCASTERS & THE ARCHIVES

Public networks and archive teams in Europe are testing AI where risk is lowest and value is highest: smarter metadata, assisted retrieval and conservative visual creation with provenance baked in. The aim isn’t synthetic spectacle; it’s service—helping journalists, producers and educators find and verify material faster.

GUARDRAILS ENABLE SCALE

Michael Wise, former CTO at Universal Pictures who also led multiplatform distribution tech at Turner, argues that responsibility is the price of admission. “Creativity is the raw ingredient of this industry. AI should be a responsible accelerant — not a replacement.” He adds that studios should “use licensed or consented inputs with clear attribution and compensation,” because “if the flywheel of creativity and compensation breaks, the whole model of our industry is at risk.” “Ensuring appropriate provenance and safety guardrails are in place is also essential to protect IP and audiences alike.”

On what executives should do first, he offers a measured timeline: “AI’s impact on film and television creation will take considerable time as technology matures, creatives become comfortable with its use, and IP issues are resolved. However, innovation and investment in new content creation workflows is continuing unabated and will quickly enable short form and emerging formats to be produced at a low cost with tremendous creative fluidity. Lessons learned here will translate to how television and feature content will be produced. Don’t waste this moment with complacency — leverage this window to upskill your teams through tests and pilots. Explore new content and distribution models to be prepared for the time when AI content creation techniques move their way up the value chain.”

WHAT’S NEXT: COLLABORATION NOT REPLACEMENT

Across interviews, a pattern emerges: keep crews in the loop, use models to extend craft, and label AI-assisted sequences in language audiences understand. Genres that are hardest to film — natural history and high-concept historical reconstructions — stand to benefit first as tools stabilize.

Wise says the medium-term change requires a structural rethink: “We’re at the inception of a radically different way to produce content, leveraging AI tools to produce ‘first-citizen’ creative elements.” Expect early transformation in 3D VFX, animation, previs and localization — with live-action following “as models become convincingly better at producing consistent photoreal results with accurate physics.” Marketing, he adds, will shift too: “Contextual, personalized marketing assets will become much more capable in terms of cost and effectiveness.” In a fast cycle, “staying nimble is as important as ever — capturing the benefits of this unprecedented innovation cycle requires it.”

What began in indie labs now plays on global screens — the job is not to replace creativity but to widen its canvas.

Source: https://www.forbes.com/sites/cathyrubin/2025/10/01/generative-ais-leap-from-indie-labs-to-global-screens/