Studio Lambert, the All3Media-backed powerhouse, has formalized a “Twin-Engine” US expansion strategy by launching two distinct development labels under the oversight of Jack Burgess (President, Studio Lambert USA). In January 2026, the studio launched Inner Drive Entertainment, led by Jon Barinholtz (Superstore, American Auto) and Rob Belushi (The Perfect Line). This follows the June 2025 integration of MindMeld Entertainment, led by veteran showrunners Jill Goslicky and Vivian Choi (Below Deck franchise).

Backed by All3Media CEO Jane Turton, this structure decentralizes creative origination while centralizing commercial strategy. Both “pods” report directly to Burgess in LA, while maintaining a creative tether to London-based heavyweights Stephen Lambert (CEO) and Tim Harcourt (CCO). This coincides with major renewals for The Traitors (Peacock/BBC) and Squid Game: The Challenge (Netflix), signaling a shift from a single production pipeline to a federated label group.

• Parent Structure (All3Media): Jane Turton (CEO).

  • Strategic Context: Turton frames MindMeld as driving the “next phase of our U.S. unscripted strategy” and praises Inner Drive for an “exceptionally smart and exciting approach to format development.”

• US Operational Lead: Jack Burgess (President, Studio Lambert USA).

  • Role: The strategic linchpin. Both new labels report to Burgess, who manages the US P&L and coordinates pitch traffic.

• Global Creative Oversight: Stephen Lambert (CEO) & Tim Harcourt (CCO).

• Inner Drive Entertainment (Comedy/Game): Jon Barinholtz & Rob Belushi.

  • Focus: Capitalizing on their 180-episode run of The Perfect Line to build comedy-forward formats and studio games.

• MindMeld Entertainment (Doc-Soap/Reality): Jill Goslicky & Vivian Choi.

  • Focus: Leveraging Below Deck and Traitors expertise for high-stakes, character-driven docusoaps.

Strategic Rationale Studio Lambert is effectively buying “genre insurance” and capitalizing on the massive success of The Traitors and Squid Game: The Challenge. By securing Goslicky and Choi (MindMeld), they lock in the operational tradecraft required for Below Deck-style logistical heavy lifts. Conversely, Barinholtz and Belushi (Inner Drive) unlock a lighter, higher-volume pipeline of studio-based game shows and “comedy-reality” hybrids. This bifurcation allows Burgess to pitch to opposing market needs simultaneously: the “shiny floor” volume plays for networks (Fox/CBS/GSN) and the “premium docusoap” swings for streamers (Netflix/Peacock/Bravo).

This structure accelerates the studio’s US footprint by moving from “fly-in” executive oversight to permanent, on-the-ground incubation. It reshapes the LA office from a satellite production hub into a primary IP origination center.

This mirrors ITV Studios’ deployment of labels like Possessed (Glenn Hugill) to target specific creative verticals. However, Studio Lambert’s approach is Unique in its pairing of on-camera talent (Barinholtz/Belushi) with veteran showrunners (Goslicky/Choi) under a single regional president, blending the “vanity shingle” model with rigorous production capability.

• Physical Production Split: Expect distinct vendor ecosystems to emerge. Inner Drive’s slate will likely drive spend in LA-based soundstages and lighting/tech vendors. MindMeld’s slate will drive spend in location services, travel logistics, and mobile production units (similar to Race Across the World).

• Post-Production Volume: The sheer volume of potential game show episodes from Inner Drive (modeled on The Perfect Line) will require scalable logging and editing workflows, likely sourced through established LA post houses.

The “Burgess Hub” model suggests Studio Lambert is preparing for a future where buyers demand “talent-wrapped” packages. By 2027, we predict Inner Drive will land a primetime game show where the hosting talent is attached at the development phase—bypassing the traditional pilot casting bottleneck.