{"id":658559,"date":"2025-03-24T12:10:18","date_gmt":"2025-03-24T09:10:18","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/welcome-to-broadcast-ification-streamers-switch-from-prestige-to-procedural-amid-cost-crunch\/"},"modified":"2025-03-24T12:10:18","modified_gmt":"2025-03-24T09:10:18","slug":"welcome-to-broadcast-ification-streamers-switch-from-prestige-to-procedural-amid-cost-crunch","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/welcome-to-broadcast-ification-streamers-switch-from-prestige-to-procedural-amid-cost-crunch\/","title":{"rendered":"#Welcome to \u201cBroadcast-ification\u201d! Streamers Switch From Prestige to Procedural Amid Cost Crunch"},"content":{"rendered":"
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\n\tInternational series<\/a> do not lack scale and ambition.<\/p>\n

\n\tThe lineup of this year\u2019s Series Mania, the TV festival and industry meet that runs through March 28 in Lille, France, includes historic epics like Joe Wright\u2019s rise-to-fascism biography Mussolini: Son of The Century, <\/em>real-life action thriller Kabul<\/em>, which traces the fall of Afghan capital to the Taliban in 2021, and Liongate\u2019s spy drama The German<\/em>, from the creators of Fauda<\/em> and Tehran, <\/em>about Holocaust survivors recruited to track down Nazi war criminals.<\/p>\n

\n\tAdd to that the screenings at the festival\u2019s upfront event, held Monday, March 24, where top-tier buyers get a sneak peek at upcoming international series. The 10 featured upfront shows include German fantasy epic War of the Kingdoms, <\/em>Korean sci-fi series S Line <\/em>and Swiss thriller The Deal <\/em>starring The Broken Circle Breakdown<\/em> star Veerle Baetens as a diplomat tasked with brokering last-chance nuclear negotiations between the U.S. and Iran.<\/p>\n

\n\tDespite that impressive output, all is not well on the international series front. Shifts in the buying habits of the global streamers, coupled with a rise in production costs and a drop in acquisition budgets among traditional networks, have put the squeeze on big-budget series.<\/p>\n

\n\t\u201cSpend is down and it\u2019s staying down,\u201d says Guy Bisson of TV market research group Ampere Analysis, which has reported a 25 percent spending drop in new global script<\/a>ed series orders from all-time highs seen back in 20222. \u201cWe are not going back to the peaks of peak TV. And there\u2019s been a strategic shift from the streamers, which are spending more of their budget on sports rights, more on unscripted TV and more on traditional genres like crime shows, leaving less for high-end premium series.\u201d<\/p>\n

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\t\t\t\t\tLuca Marinelli in \u2018M. Son of the Century\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tAndrea-Pirrello<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tBisson calls the move the \u201cbroadcast-ification of streaming,\u201d whereby the popular platforms, primarily Netflix, Amazon, and Disney+, having reached high penetration rates in many territories, with ad-supported tiers to their subscription services, are starting to behave like more traditional free-to-air networks.<\/p>\n

\n\t\u201cWe\u2019ve seen a big upswing in crime drama, which we\u2019ve always thought of as the bread and butter of network TV,2 he says, \u201cbut in Western Europe last year, nearly half of all streaming scripted commissions were crime shows.\u201d<\/p>\n

\n\t\u201cWe are living through a transformation of the market,\u201d notes Frederic Balmary, chief business officer at indie production giant Banijay, whose French culinary-themed drama Car\u00eame<\/em>, about the world\u2019s first celebrity chef (played by Summer of \u201985<\/em> star Benjamin Voisin) opened the festival on Friday. \u201cIt\u2019s more and more difficult to finance the big shows.\u201d<\/p>\n

\n\tThe streamers haven\u2019t abandoned epic TV entirely. Car\u00eame<\/em>, which bows on AppleTV+ on April 30, is lush in period detail and on-screen production values. Netflix spared no expense for the new season of its Brit hit Bridgeton <\/em>or Keira Knightley\/Ben Whishaw spy thriller Black Doves<\/em>.<\/em><\/p>\n

\n\t\u201cNo one is ditching high-end drama completely, but it\u2019s obviously less important,\u201d says Bisson. \u201cThe spend levels, not just from the streamers, but globally, is broadly flat. And the cost of production is going up, so the volume is down. You are getting fewer shows for the same money.\u201d<\/p>\n

\n\t\u201cThe big streamers, if they really want a show, are willing to spend whatever it takes to get it,\u201d says Sabine de Mardt, head of Gaumont productions in Germany, which has made such series as Interpreter of Silence <\/em>and for Disney+\/Hulu, Barbarians<\/em> for Netflix and the upcoming dramedy Parallel Me<\/em> for Paramount+. \u201cBut getting to that yes is taking a lot longer.\u201d<\/p>\n

\n\tThe U.K., which has seen a streaming-fueled boom in high-end TV, leading to a sharp rise in production costs, is facing a different challenge. Big-budget shows are being priced out of the range of traditional broadcasters, including the BBC, ITV, and Channel 4, who still account for the vast majority of original series produced in Britain.<\/p>\n

\n\t\u201cToday, the gap between available funding for programming and current budgets is simply too high,\u201d said Black Doves <\/em>producer Jane Featherstone in a speech at the Broadcasting Press Guild Awards in London on March 20. \u201cWe\u2019re at risk of losing the very stories that define us.\u201d<\/p>\n

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\t\t\t\t\tAustralian war drama \u2018The Narrow Road to the Deep North\u2019 starring Jacob Elordi, has yet to land a U.S. deal. <\/span><\/p>\n

\t\t\t\t\t\t\t\t\tAmazon Prime Video<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tRising production costs are meeting falling international sales, particularly for more challenging material. It\u2019s notable that recent epic series including Fremantle\u2018s Mussolini: Son of The Century <\/em>and War of the Kingdoms, <\/em>Sony Pictures Television\u2019s Australian WW2 drama The Narrow Road to the Deep North<\/em> starring Jacob Elordi and Thomas Vinterberg\u2019s climate change disaster tale Families Like Ours<\/em>, which are Australian WW2 drama The Narrow Road to the Deep North <\/em>starring Jacob Elordi, the German fantasy epic War of the Kingdoms<\/em>, and Thomas Vinterberg\u2019s climate change disaster tale Families Like Ours<\/em>, which StudioCanal is selling worldwide, have still looking for a U.S. buyer.<\/p>\n

\n\t\u201cOn the financing side, the big challenge for these shows is to get the U.S. pre-sale,\u201d says Balmary. \u201cBut without pre-selling the U.S. this kind of big show is just not sustainable.\u201d<\/p>\n

\n\tBig U.S. pre-sales still happen. Banijay secured a second season for its lush period drama Marie Antoinette<\/em>, a co-production between France\u2019s Canal+ and the BBC, thanks to a U.S. pre-sale to PBS. Showtime pre-bought Gomorrah: The Origin<\/em>, from Beta Film, helping secure a greenlight for the prequel series to the long-running Napleses mafia drama from European producers Sky Studios and ITV-owned Cattleya.<\/p>\n

\n\tBut the gap between what these international epics cost, and how much money commissioners are willing to pay for them, is only growing. Even the streamers are becoming more cost-conscious, paying local rates for local content, often hiving off rights for select territories instead of doing the worldwide deals that were once the norm. Amazon will premiere The Narrow Road to the Deep North <\/em>in Australia, New Zealand and Canada on April 18, but Sony has sold on rights to a collection of broadcasters, public and commercial, in most of the rest of the world, including to the BBC in Britain, Sky and Max in Europe, and NBCUniveral in Latin America.<\/p>\n

\n\t\u201cThere are still shows that Netflix, Amazon or Disney want worldwide rights for but for a lot of them now, they just want one country, or a handful,\u201d says Balmary, \u201cwhich is good news<\/a> for us, because we can retain IP, and we love to retain IP, but the bad news means the financing gap gets bigger, and we have to find new ways to close it.\u201d<\/p>\n

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\t\t\t\t\t\u2018Kabul\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tMedia<\/a>wan Rights \u2013 Entourage Media<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tIn this new cash-strapped era, co-production, whereby networks in different countries, or different platforms in the same territory, pool resources to finance a show and split up the rights, has become a go-to financing model. Co-pro partnerships are getting bigger and more complicated \u2014 Kabul<\/em>, which Mediawan Rights\/Entourage Media is selling worldwide, was made by New8, a drama collaboration by 8 public broadcasters from across Scandinavia, Germany, Belgium and the Netherlands \u2014 and often bridge the public\/commercial and broadcast\/streamer divide. Swiss public broadcaster SRF and commercial streamer RTL+ are teaming up for a reboot of Alpine family classic Heidi, which Gaumont is producing. Financing for Beta Film\u2019s sci-fi disaster series The Swarm <\/em>(2023) came together through a combination of European public broadcasters (ZDF, France T\u00e9l\u00e9visions, Italy\u2019s RAI) and commercial streamers, including Viaplay Group in Scandinavia and Hulu Japan. It then pre-sold to CW for the U.S.<\/p>\n

\n\t\u201cYou need more partners and often different partners than before [to make these shows],\u201d says Oliver Bachert, chief distribution officer at Beta Film. \u201cWhich means you have to start talking with partners a lot earlier and come up with more creative models.\u201d<\/p>\n

\n\tIncreasingly, those models involve complex, and creative, windowing: Carving out exclusive licensing periods for local broadcasters and streamers, allowing multiple licensing deals for a show in a single territory. Beta\u2019s Berlin hospital drama Krank (aka Berlin ER), has exclusive first-window rights on AppleTV+ worldwide, but its second-window release in Germany is on public broadcaster ZDFNeo. Beta\u2019s royal romancer Maxima has a similar setup, going out first on RTL+ before shifting to ZDFNeo in its second window.<\/p>\n

\n\t\u201cThe difference in the market now is that everyone, including the streamers, are much more open to licensing content in short windows, to have a second or a third window for that content and giving it a second life,\u201d says Bisson. \u201cIf you look back a few years, the majority of the 10 most popular dramas on Netflix were Netflix originals. Now the majority, or a large portion, are licensed shows. So Netflix is clearly looking to fill the holes by licensing quality drama that\u2019s had a good run somewhere else.\u201d<\/p>\n<\/div>\n

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International series do not lack scale and ambition. The lineup of this year\u2019s Series Mania, the TV festival and industry meet that runs through March 28 in Lille, France, includes historic epics like Joe Wright\u2019s rise-to-fascism biography Mussolini: Son of The Century, real-life action thriller Kabul, which traces the fall of Afghan capital to the…<\/p>\n","protected":false},"author":1,"featured_media":658560,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2025\/03\/Series-mania-Mussolini-Families-Kingdoms-Road.jpg?w=1440&h=810&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[148796,137171,124783,155068,141042],"class_list":["post-658559","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-beta-film","tag-fremantle","tag-international","tag-mussolini","tag-series-mania"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/658559","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=658559"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/658559\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/658560"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=658559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=658559"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=658559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}