Lights, Camera, Due Diligence: What International Investors Miss When Buying US Entertainment Assets

Hollywood & Entertainment Lights, Camera, Due Diligence: What International Investors Miss When Buying US Entertainment Assets By Bradfield Biggers,

Forbes contributors publish independent expert analyses and insights. Bradfield Biggers leads an Entertainment, Media & Music practice.for Legal Entertainment Follow Author Jun 01, 2026, 06:19pm EDT--:-- / --:--This voice experience is generated by AI. Learn more.This voice experience is generated by AI. Learn more.The market is defined by scale, global platforms, deep capital markets, sophisticated buyers and a long history of turning music, film, television, media and talent into revenue.GC ImagesInternational investors usually do not need much convincing that the US entertainment market is attractive. The market is defined by scale, global platforms, deep capital markets, sophisticated buyers and a long history of turning music, film, television, media and talent into revenue. The size of the opportunity is visible across the major parts of the business. In recorded music, the Recording Industry Association of America reported that US revenues reached a record $11.5 billion in 2025, with streaming representing 82% of total revenue. On the film and television side, US industry trade group the Digital Entertainment Group reported that US consumer spending across digital and physical home entertainment formats reached $62.2 billion in 2025, up 17.4%, driven by continued gains in subscription streaming.

On the film and television side, US industry trade group the Digital Entertainment Group reported that US consumer spending across digital and physical home entertainment formats reached $62.2 billion in 2025, up 17.4%, driven by continued gains in subscription streaming.NurPhoto via Getty ImagesFor investors looking for exposure to durable intellectual property, recurring revenue and the infrastructure around content, the attraction is easy to understand. The harder part is understanding that buying into the US is not just about finding the right asset. It is about adapting to a different deal environment with industry customs and nuances that are embedded in the relationship-driven entertainment ecosystem. A transaction that looks straightforward from London, Paris, Berlin or Seoul can look different once US tax, state law, employment rules, financing terms, regulatory timing and market practice are layered on top. That is where international buyers can lose time, leverage or economics. They may understand the entertainment asset, but still underestimate the US execution complexity and risk around it.