What it is, when it was created, and why

Red Bull Media House (RBMH) is the multimedia division and content production arm of the Red Bull ecosystem. It is a company dedicated to the production, publishing, and distribution of content related to sports, culture, music, and lifestyle, with a presence across owned video channels, television, magazines, digital platforms, and social media.

Founded in 2007, RBMH was created with the aim of centralizing, professionalizing, and scaling Red Bull’s content activities, transforming the brand’s traditional communication and marketing approach into a long-term editorial and entertainment strategy. From its inception, RBMH’s ambition has been to produce stories with high production values that position Red Bull as a cultural and media player, rather than merely an advertiser.

Types of content it specializes in

Red Bull Media House develops a wide range of content, including:

- Documentaries and feature films focused on extreme sports, motorsports, adventure, and urban culture.
- Television series and programs, including the operation of owned TV channels and collaborations with broadcasters such as ServusTV in selected regions.
- Content for digital platforms and social media: owned video channels, podcasts, short-form clips, and vertical formats.
- Print and digital publications, such as The Red Bulletin magazine.
- Event production and coverage, including both owned events and competitions or disciplines sponsored by the brand.
- B2B production and distribution services, including branded content, social media campaigns, and formats developed for third parties.

All of this activity is aimed at audiences interested in action, sport, adventure, and contemporary culture, with a strong focus on young and global audiences.

Business Model

RBMH’s business model combines multiple revenue streams and strategic functions:

• Content production and sales/distribution: commercialization of rights, licensing, and distribution of documentaries, series, and audiovisual content to third parties (television, streaming platforms, festivals).
• Monetization of owned channels: advertising revenues, sponsorships, and commercial formats across its video platforms, websites, and publications.
• Branded content and client services: development of brand content campaigns and the provision of agency-style services (audiovisual production, social advertising, community management).
• Events and experiences: revenue generated from ticket sales, sponsorships, and rights associated with owned events.
• Synergies with the parent company (marketing in kind): part of the activity operates as an extension of Red Bull’s marketing strategy, generating brand value that indirectly translates into product sales.

In practice, RBMH combines an editorial logic—focused on audience creation and retention—with a commercial logic—centred on the sale of content, services, and advertising inventory—positioning itself as a fully-fledged media company that also provides strategic services to the Red Bull Group. The company itself defines its role as that of an end-to-end provider, covering production, distribution, booking, and reporting.

Does RBMH operate as a separate unit from its parent company, Red Bull?

From a legal and operational perspective, Red Bull Media House operates as a distinct subsidiary within the Red Bull Group. Red Bull Media House GmbH is established in Austria and has its own organizational structure, workforce, and financial accounts.

However, at a strategic level there is strong integration with the parent company: many projects and content initiatives pursue direct brand objectives and benefit from commercial, financial, and governance synergies with Red Bull. In short, RBMH is a legally and operationally independent unit, but one that is closely aligned—both strategically and economically—with its parent company.

Revenue in recent years: notes and sources

Preliminary note: Publicly available figures on Red Bull Media House mainly come from press releases, industry rankings, and consolidated financial statements published in Austria. They are not always presented using the same criteria (consolidated group figures, fiscal year definitions, inclusion or exclusion of brands such as ServusTV or The Red Bulletin), which explains the discrepancies across sources.

According to data compiled from trade press and industry reports, the approximate figures are as follows:

• 2020 — There is no single, widely agreed figure in public sources. Most reports point to a significant decline in revenue due to the impact of COVID-19.
• 2021 — There is €518.3 million
• 2022 — €563.8 million
• 2023 — €620 million (the highest level reported to date by several specialised media outlets).
• 2024 — Estimates range between €603 million and €620 million, depending on the level of consolidation applied; some projections place year-end revenue slightly higher, reaching up to €650 million.

These differences can be attributed to several factors: the consolidation (or not) of certain subsidiaries, internal transactions with the parent company, distinctions between calendar year and fiscal year reporting, and varying accounting criteria used by journalistic sources. For exact and audited figures, it is advisable to consult the Jahresabschluss of Red Bull Media House GmbH or the consolidated financial reports of the Red Bull Group.

Conclusions and closing remarks

Red Bull Media House has established itself as one of the most representative examples of a brand’s evolution into a media company. Founded in 2007 with the aim of turning marketing into owned content, it is now an international multimedia producer and distributor, with revenues that place it among Austria’s leading media players.

Its main strength lies in an integrated offering—production, distribution, owned channels, and B2B services—combined with close synergies with its parent company, Red Bull, which provides commercial scale and access to global audiences. At the same time, this relationship also shapes its model, as a significant share of its content continues to function as a brand vehicle.

From an audiovisual industry and CTV/OTT distribution perspective, the RBMH case clearly illustrates:

• • The potential of multiplatform distribution and carriage agreements, catalogue licensing, and co-production models.
• • The growing demand from brands for high-quality branded content.
• • The importance of rights management, content packaging, and the adaptation of formats optimized for CTV environments.

A hybrid model—positioned somewhere between a traditional media company, a production studio, and an agency—that continues to set trends at the intersection of content, technology, and brand.