For decades, the entertainment industry operated on a relatively straightforward formula: studios developed content, broadcasters distributed it, advertisers funded it, and audiences consumed it passively. But according to Monaco-based media entrepreneur and actress Salla Kosma, that model is no longer sustainable.

“The old broadcasting model is broken,” Finish-native Salla Kosma tells me bluntly. “Nobody’s really commissioning. Everybody’s being careful. If production companies can’t adapt fast enough, they die.”

Kosma is the co-founder of Naru Force Studios, a newly launched venture focused on developing scalable, digital-first intellectual property ecosystems that stretch far beyond traditional television. The company operates at the intersection of streaming, creator culture, commerce, audience participation, data analytics and platform-native storytelling — a space she believes represents the next major evolution of media and entertainment.

Alongside her work with Pig & Horse Productions, where she recently completed an investigative documentary set in the art crime world, Kosma has shifted much of her attention toward building what she describes as “multi-layered IP ecosystems” rather than single-format productions.

“We won’t make one TV show and that’s it,” she explains. “The IP has to live across multiple platforms — YouTube, TikTok, Instagram, podcasts, live experiences, commerce, communities. It will become an entire universe.”

Why Audience Ownership Is Becoming the Most Valuable Asset in Media

At the centre of Naru Force Studios’ strategy is a fundamental shift in how audiences are viewed. In the traditional television era, audiences were simply viewers. Today, Kosma argues, audiences are consumers, collaborators and long-term assets.

“The relationship between the IP and the audience is where the real power is now,” she says. “It’s attention economy. It’s not enough to go viral once. Millions of videos get millions of views every day and are forgotten the next morning. The question is: how do you keep that relationship alive for years?”

That thinking is shaping Naru Force Studios’ first major pilot project, which centres around the global K-pop phenomenon. For Kosma, K-pop is the perfect example of how modern entertainment has evolved into a fully immersive ecosystem.

“It’s not just music,” she explains. “It’s culture. Fashion, products, communities, fandoms, identity. These audiences are superfans. There’s enormous value in that.”

Rather than producing a standalone talent format, the company is developing a wider digital ecosystem around the concept, designed to exist simultaneously across long-form and short-form content, live activations, branded partnerships and fan interaction.

“It’s not about one revenue stream anymore,” Kosma says. “You build multiple revenue streams from one IP. If one thing doesn’t work, something else will.”

The Rise of Creator-Led Entertainment and IP Ecosystems

The strategy also reflects a broader change happening across the creator economy, where creators are increasingly functioning like independent studios and brands are seeking more organic ways to integrate into entertainment.

“Traditional advertising doesn’t work the same way anymore,” she says. “Brands need to become part of the content itself. They need to live inside the ecosystem.”

For Kosma, this convergence of entertainment, commerce and community is not theoretical — it is already happening. The challenge now is building scalable infrastructure around it.

Part of that infrastructure involves data. Naru Force Studios includes data analytics expertise at its core, using audience insights to guide forecasting, platform strategy and monetisation opportunities.

“You can’t do anything without data anymore,” Kosma says. “You need to know what audiences are actually watching, how they behave, what they consume, and how they move between platforms.”

How AI and Rapid Technological Change Are Transforming Media Production

Artificial intelligence is becoming an increasingly important part of modern media production, but for Kosma, its value lies firmly in optimisation rather than replacement.

“AI helps optimise workflows,” she says. “But human creativity is still at the centre of everything we do. AI cannot replace that.”

At Naru Force Studios, AI is viewed as a tool that can accelerate processes, streamline development and improve operational efficiency — particularly in areas like pre-production, forecasting, workflow management and data analysis. But Kosma is adamant that storytelling, creative direction and audience connection still depend on human instinct and creativity.

Instead, she sees AI as part of a much larger shift happening across the entertainment industry: the rapid acceleration of technology and the increasing speed at which media businesses are expected to evolve.

“The pace is incredibly fast now,” she says. “Platforms change constantly. Audience behaviour changes constantly. Technology changes constantly. You have to be able to adapt very quickly.”

That speed is fundamentally reshaping how media companies operate. Traditional television production models, which often moved slowly through long development cycles, are increasingly struggling to keep up with digital-first audiences and platform-native content ecosystems.

“You have to be ready to pivot every week,” Kosma explains. “You can have 100 ideas, but maybe only one works. The key is moving fast.”

For digital-first companies like Naru Force Studios, agility has become as valuable as creativity itself. Projects are no longer confined to a single platform or release structure, and audience feedback now arrives in real time through data, engagement metrics and community interaction.

“Everything is much more immediate now,” she says. “You can test concepts faster, understand audience behaviour faster and make decisions faster than before.”

That acceleration is also changing how companies approach long-term strategy. Rather than building static content models, Kosma believes the future belongs to businesses capable of continuously evolving alongside technology, platforms and audience habits.

At the same time, she believes the increasing speed of innovation makes intellectual property and system protection more important than ever — particularly for companies developing entirely new production models.

Why Monaco Could Become a Hub for Media Innovation

The speed of change, however, is exactly what excites her.

Kosma believes Monaco is uniquely positioned to support ventures like Naru Force Studios. While the Principality has increasingly positioned itself as a hub for innovation, fintech and entrepreneurship, she sees a major opportunity emerging within media and entertainment technology.

“I think this kind of company is very beneficial for Monaco’s image,” she says. “It’s modern, forward-thinking and international.”

The company is currently preparing for its next stage of development and future financing strategies ahead of a planned funding round in 2027. While the long-term ambition is significant, Kosma remains pragmatic about the process ahead.

“We’re building systems,” she says. “And systems take time.”

The Future of Digital-First Entertainment

Still, her confidence in the future of audience-led entertainment is unmistakable.

“The old model isn’t coming back,” Kosma says. “Content now has to live everywhere. Audiences want participation, convenience and connection. The companies that understand that — and build for that — are the ones that will survive.”

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