Many Belgians associate Gert Verhulst’s name with the endearing banter of Samson & Gert, a program that influenced children’s early years with its lighthearted tone and devoted puppet sidekick. Behind the endearing façade, however, is a quietly driven businessman who created the ocean current beneath nostalgia rather than merely riding it.
In 1996, Verhulst and Hans Bourlon co-founded Studio 100, accomplishing what few TV personalities even dare to try: turning creativity into a profitable business. With every deliberate action, whether it was creating musicals or obtaining the rights to well-known characters, he established himself as a media architect with a long-term vision rather than just an entertainer.
| Bio & Personal Info | Career & Professional Info |
| Full Name: Gert Tony Hubert Verhulst | Occupation: TV presenter, entrepreneur, singer, screenwriter, director |
| Birth Date: January 24, 1968 | Famous Work: Samson & Gert, Studio 100, Plopsa theme parks |
| Age (2025): 57 | Co-Founder: Studio 100 (1996) |
| Birthplace: Berchem, Belgium | Estimated Net Worth: €241 million (source: De Rijkste Belgen) |
| Residence: Oostduinkerke, Belgium | Monthly Salary (est.): €50,000 |
| Partner: Ellen Callebout | Luxury Assets: Oostduinkerke home (€4M), BMW 7 (€70K) |
| Children: Includes Viktor Verhulst | Endorsements: Netflix |
| Religion: Christian | Key Partner: Hans Bourlon |
| Ethnicity: White, Belgian | Revenue Sources: TV, theme parks, music, licensing, investments |
Studio 100 has developed into a remarkably effective machine over the last 20 years, producing content that delights young children while also benefiting stakeholders. Gert’s portion of the estimated €241 million in holdings solidifies his status as one of the most prosperous individuals in Belgian media history.
Verhulst’s wealth is unique, but so is the methodical manner in which it was accumulated. Studio 100 developed a recurring ecosystem of experiences, merchandise, and content by investing in creatures that appealed to a wide range of age groups. Gert transformed a dog puppet into a platform, much like LEGO transformed bricks into a way of life.
Thanks to its international catalog and effective licensing model, the company has significantly expanded into foreign markets in recent years, earning the moniker “Disney of the Low Countries” from some. Regional TV became anchored by shows like Kabouter Plop, Mega Mindy, and Bumba, and theme parks and live performances gave the brand a second lease on life.
Verhulst has built a reputation based on credibility by remaining behind the scenes rather than in front of it all the time. Gert has developed influence through ownership, in contrast to peers like Simon Cowell who mainly rely on public perception. For a European market that is frequently controlled by imports, his approach—owning the intellectual property, controlling distribution, and maintaining creative control—has proven especially novel.
Equally remarkable is Verhulst’s ability to remain viable in an increasingly digitizing environment. By embracing modern media formats and collaborating with Netflix, Studio 100 has greatly decreased its reliance on linear television. This change was made without alienating its core audience, demonstrating a unique capacity for change without alienation.
Gert also made sure the next generation would be involved by exercising strategic foresight. As a rising TV host, his son Viktor Verhulst now takes center stage, indicating a quiet but reliable succession plan. Gert appears to be creating a legacy that speaks fluidly to both consistency and reinvention rather than fading away quietly.
That same quiet success is evident in his personal life. Instead of showing off skyscrapers or yachts, he drives a BMW 7 and lives in a €4 million coastal villa in Oostduinkerke, which is a classic yet comfortably modest choice. When contrasted with more ostentatious billionaires who confuse ostentation with impact, that restraint is telling.
Verhulst’s empire is currently being examined as a model for Belgium’s changing media environment. He has created a business model that feels remarkably efficient and surprisingly sustainable by utilizing cross-platform distribution, vertical integration, and timeless content. Many producers are trying to imitate the “Studio 100 formula” as ad revenue models are under pressure and content markets are oversaturated.
Verhulst is increasingly portrayed in financial media as a significant economic player rather than just a celebrity. His strategic acumen is regularly highlighted in coverage by publications such as De Tijd, HLN, and L’Echo, which frequently lists him alongside Belgium’s most powerful business leaders.
In the end, the story of Gert Verhulst is not just one of wealth. It’s a study of how long-term planning, methodical execution, and imaginative storytelling can coexist peacefully and transform entire industries’ perceptions of children’s content, brand ownership and cultural value.
