In an era where social video rules the screen, Hearst Networks UK is emerging as a quiet force in digital-first storytelling – particularly across the booming true crime and history genres.
Led by digital commissioning editor Sam Pearson, the broadcaster – formerly known as A+E Networks UK – is forging a smart, experimental strategy across its channel brands Sky History, Crime+Investigation and Blaze. Their aim? To reimagine how factual programming lives and breathes across platforms like YouTube, Facebook, TikTok and beyond.
“The thinking behind it really came at the beginning of the pandemic,” Pearson says. “We knew eyeballs were shifting, and we had to follow them.” What began as simple AVoD uploads of archive content has now evolved into a full-scale commissioning strategy that plays in both vertical and horizontal video formats and straddles everything from Snapchat and Instagram to Sky’s own on-demand platforms.
Take History Crush, for example. Hosted by TikTok star and historian Katie Kennedy – aka @thehistorygossip – it’s a snappy, tongue-in-cheek interview show that questions whether infamous historical figures like Charles II are worthy of a modern-day date. Combining authenticity with entertainment, the eight-minute episodes are designed to work equally well on Instagram Stories as they do on broadcast VOD. “It’s produced with a quality that could sit on TV, but structured for social,” Pearson explains.
On the more hard-hitting end of the spectrum is Unbreakable, a social-first true crime series hosted by Nina Malone, a domestic abuse survivor and wellness coach. Each episode features interviews with individuals who have experienced extreme trauma – from sex trafficking to FGM – and focuses on stories of resilience. “True crime, when done responsibly, gives voice to the voiceless,” says Pearson. “We see this as purposeful programming, not just content that entertains.”
In a market where social platforms reward flash over depth, Hearst’s approach is notably grounded. Rather than chasing views for their own sake, Pearson’s team puts as much emphasis on retention curves and engagement metrics as on creative development. “You learn more from where the audience drops off than from how many clicked,” he says. “We go deep on that data to inform the next commission.”
And it’s not all about YouTube. While the platform remains central to monetisation, Pearson is deliberately “strategically unstrategic” when it comes to distribution. Every commissioned format is built to stretch across the full ecosystem – TikTok, Facebook, Instagram, AVOD, and SVOD – often starting with a platform-native idea before expanding outward. The goal is maximum audience reach, but also maximum learning.
That mindset has opened up new opportunities for content to scale. Pearson hints that several archive series have been considered for reboot based on social engagement data, and that talent like Kennedy could find themselves fronting longer-form projects in future. “We’d love to see History Crush become a linear show,” he says. “But just as valuable is the development we’re doing with new talent in a sandbox environment.”
That sandbox approach – freedom to test, fail, and iterate – is rare in larger media organisations. “There’s no fear of failure here,” Pearson insists. “We’re less interested in vanity metrics and more focused on whether we’ve created a format, found a presenter or uncovered an angle we can build on.”
Looking ahead, Pearson is actively commissioning more digital-first history formats – with panel shows, quizzes and hands-on historical experiences all on the wish list. For crime, the focus remains on untold stories, with new titles like I Made a Murderer exploring the impact of crime on perpetrators’ families.
Across everything, the guiding principle remains the same: respect the viewer’s attention span, honour the story, and use data to improve the next iteration. “TV’s not dead – it’s just evolving,” Pearson says. “What we think of as television might look completely different in ten years. But the core of great storytelling is always the same.”
In a fast-moving industry dominated by creator-first platforms and brand-funded content, Hearst Networks UK is carving out a path that blends editorial integrity with platform fluency. The result is a growing slate of true crime and history shows that are purpose-built for a digital-first world – while still holding on to the values of a traditional broadcaster.
As Pearson puts it, “There’s disruption everywhere. But if you embrace it as an opportunity, not a threat, you’ll be alright.”
Check out the full version of the interview for TellyCast on YouTube
