Who is Jurian Van Der Meer and why is he joining Eurovision as Commercial Director?
After an eventful 2024, marked by tensions and questions, theEuropean Broadcasting Union (EBU / UER) is continuing its drive to transform Eurovision and this is reflected today in the appointment of Jurian Van Der Meer to the position of Commercial Director, as announced this summer. This decision is in line with the structural changes announced at the start of the season by the EBU. By calling on an international media brand expert, the EBU is clearly demonstrating its ambition: to make Eurovision a global entertainment brand that is active all year round.
Who is Jurian Van Der Meer?
Jurian Van Der Meer comes from ITV Studios and Banijay (Banijay is in discussions to acquire ITV Studios) where he worked on the global commercial strategy for licences such as The Voice, Love Island, Big Brother or Masterchef. He will provide his expertise in :
- Developing strategic and innovative partnerships,
- Increase licensing, merchandising and digital revenues,
- And to reinforce the image of a competition that is true to its values: creativity, diversity and unity.
Competition Director Martin Green said: "This appointment is perfectly in line with our desire to build a modern, strong and sustainable Eurovision as we approach its 70th anniversary in 2026. »
Jurian shares this enthusiasm: "The Eurovision Song Contest is a cultural phenomenon with enormous creative potential. I am delighted to contribute to its transformation. »
What do we think of Jurian Van Der Meer as Sales Director?
Jurian Van Der Meer's arrival is part of a trend we are seeing more and more in Europe: taking inspiration from the Anglo-Saxon entertainment model, where you don't just produce an event, but develop a global brand that can be rolled out across all media and all year round.
At a time when the public media, which fund Eurovision, are under attack from all sides, with increasing difficulties in raising the money to produce a gigantic show every year, this nomination could enable Eurovision to modernise, attract new audiences and strengthen its financial autonomy. And it will be a success if it keeps its essence.
But beware of the pitfalls: this is not (and should not be) about turning the Contest into a slick or sanitised product, or turning it into a reality TV programme whose space is already over-saturated. What we're talking about here, and we certainly hope so, is the commercial development of the show - partnerships, merchandising, digital, etc. - not its artistic nature or format.
This remains to be clarified, and we will be paying close attention to this distinction.
Although this appointment may raise questions and even worry long-time fans, it remains ambitious and could mark an important step in the financial development of the competition in a context of budgetary rigour for Europe's public media.
We remain cautious but curious, and we hope that this strategy will enable the Concours to shine even brighter, without losing its soul.
