Netflix’s Post

I totally agree with myself "For Rai - Radiotelevisione Italiana, the attractions are clear. “The projects of The Alliance give us the possibility to be part of endeavours that we would never have been capable to tackle alone,” Michele Zatta, Rai Fiction commissioning editor of international co-productions, tells TBI. “The negative aspect is that they’re usually pretty expensive. And since we have the smallest budget we have to be careful in choosing not too many – and the right ones for our audience.” There also seems to be a shift in the balance of commissioning power, partly with US streamers’ spending priorities less focused on international fare, but also because the collective might of European pubcasters and soft money adds up. “It is true that we’re experiencing a pendulum movement,” says Morad Koufane, head of international drama at France Télévisions. “We’ve been receiving a lot of abandoned developments from the streamers that rediscover their purpose and the added value that we can offer to creators and talents. “For the next two years, I guess our role is to be present for the creators and to be ready to commit to talents that have something to say through the [public service broadcaster] lens. One cannot substitute the crazy amount of ‘peak TV’ money, but the Alliance can be the new Eldorado for meaningful entertaining projects that are increasingly leaving the streamers.” The Kollective, of course, ticks that ‘meaningful entertainment’ box and Frank Seyberth, head of co-production at ZDF’s International Fiction unit, adds that his organisation’s public broadcaster status also reflects stability in a time of uncertainty. “As a public broadcaster, our editorial line is always shaped by a multitude of factors, such as relevance, social and financial needs, as well as public demand. In this sense we see ourselves as a stable and reliable partner for our producers in an especially fast paced market. “We are alert to how quick some market players have been changing their behaviour and investments. Even so, we believe strongly in the benefits of a sustainable and trust-based slate development over a longer timeline with reliable partners. This will attract the best talent and result in (commercially) viable projects.”

ATV’s series “Wounded Heart” (“Kalp Yarası”) has enjoyed notable success in Russia. The series has been well-received for its engaging storyline, strong performances, and dramatic twists. It has gained a significant viewership across Russian platforms such as OKKO, Wink, and Tricolor Film and TV, contributing to its popularity.  The series’s mix of romance, drama, and intrigue has resonated with Russian audiences, leading to positive reviews and a strong fan base. The combination of a compelling narrative and relatable themes of family and revenge has helped the series maintain its appeal in the competitive landscape of international TV dramas. Our next markets: World Content Market - Moscow Autumn: 26-28 November 2024  World Content Market - Moscow Spring: 28-30 May 2025 World Content Market - Almaty: 4-5 March 2025 #worldcontentmarket #televisionmarket #digitalcontent #content #b2b #televisiondistribution #TVindustry #TVbroadcasting #Television #Contentindustry #TVcontent #TVseries #Contentdistribution #Contentproduction

The impact of television on societies:    Television has played a major role in bringing about some changes in different societies and in aspects that are not hidden from anyone. Although the role required of television is to bring about changes, television has performed this task positively, except for some negatives. If a comparison is made between television and cinema, the superiority of television over cinema appears clear. It is available in all homes, transmitting a set of knowledge and experiences that have a great impact. If one reviews the new information that television brings to the viewer and how many countries and cultures he has learned about through watching it, this great impact will be noticed, and it is thus an important window to human knowledge. The role of the impact is not limited to Television was introduced only to bring knowledge, but it expanded and brought about many changes in the fields of politics and economics. Television has been able to succeed in raising people's interest in local and global political events and some things that arouse individuals' personal interests, such as financial and economic news, and the weather. If it is accepted that this is a positive effect, there are some negative effects that have cast a shadow on some societies, such as its cultural effects of invasion and dispossession. Cultural, especially on the part of large countries with strength in television production. An example of this is what happened in Canada after American television production dominated the Canadian viewer and attracted him away from local programs. This was able to have a significant impact on the cultural identity of Canadian society. Among the negative aspects as well, I said: The phenomenon of reading for entertainment and to pass the time, and television was able to cause some negative effects, such as increasing crime rates, and transferring some negative cultures to other societies. In the field of family life, television had the effect of creating a gap between members of the same family, by focusing and following the image at the expense of useful dialogue between family members. Children are greatly affected by their viewing of television through their imitation of some violent scenes in films shown on television. Television also occupies the viewer’s senses, which deprives him of imagination, unlike in radio or books, in which the reader imagines the events of the novel, which reduces the possibility of developing the faculties of the mind. In imagination and creativity, continuous watching of television may cause some complications to human health, as many doctors confirm, such as damage resulting from radiation or direct effects on sight. Despite this, television is considered one of the important means that has played a major role in people’s lives.

Excellent article on the larger state of "the biz". The article mainly focuses on writers, but many of the problems and trends it describes affect everyone in TV/film. One thing not covered here is how much things like TikTok, YouTube, and Twitch have taken over the role of providing entertainment to the public that may formerly have been the role of TV. All of these provide niche content in a way TV/streamers could never do. It feels to me like there's been a deeper shift in culture writ large about what we consider entertainment. The mediums of today have trained people to have shorter attention spans overall when it comes to media, and thus step away from the traditional models of ongoing stories. https://lnkd.in/gArYuAtq

Some brilliant insights here. It's refreshing to see more and more people taking an independent approach to television. As Hollywood continues to contract and transform, I think it's incumbent upon us, the creatives, to operate outside the traditional system and counterbalance the fear and anxiety. By independently funding our projects, creating world-class storytelling, and engaging directly with audiences, we can break through the noise and also maintain ownership of our work. It’s an exciting time.

🎬 Scripted Series Take Center Stage at MIPCOM 2024 🎬 It’s no secret that scripted content is having its moment in the spotlight at this year’s MIPCOM. With a surge in high-quality dramas and a shift in demand, scripted shows have now overtaken factual programming as the hottest market picks. From compelling new series to major global collaborations, the world’s attention is turning to scripted storytelling to deliver the most engaging and dynamic content. The race for the next big hit is on, with top buyers eyeing projects that have the potential to captivate audiences worldwide. 🚀 It’s clear the future of television is leaning heavily toward scripted drama, as we witness an evolving landscape driven by creativity, big ideas, and international co-productions. Check out more insights on the MIPCOM 2024 scripted trends: 📖 Broadcast Now 📖 Hollywood Reporter 📖 Variety #MIPCOM2024 #ScriptedSeries #GlobalTVTrends #TVContent #DramaSeries #TelevisionIndustry #EntertainmentNews #TVDevelopment #ContentCreation #ScriptedVsFactual #CannesMarket #MediaProfessionals #jgtvdirector

From Variety: Hosted by the Iberseries & Platino Industria forum and emceed by María Valenzuela, the panel included speakers Morad Koufane, France Télévisions’ director of international and young adult series; José Pastor, director of #cinema and fiction at Radiotelevisión Española in Spain; Michele Zatta, commissioning editor in charge of international co-productions for Italy’s Rai - Radiotelevisione Italiana; and Laura Mae Harding, commissioning editor for international co-productions at ZDF in Germany. Here are five key takeaways from the enlightening conversation. Co-Pro Plan A and Plan B The day’s conversation started with a brief explanation of the European Alliance, a co-production agreement launched in 2018 by three panel participants, RAI, France Televisions and ZDF. Zatta, Koufane and Harding all praised the six-year-old pact, which will unveil a new project to be backed at MIA in Rome later this month. Outside of the Alliance, Koufane says that anytime France Televisions is looking for a partner, “We have a Plan A, and a Plan B. Plan A is my colleagues,” he explained, motioning to the other broadcasters on stage. “When we have a project, we first present it to them, and they say yes or no. When we have a no, we go to Plan B, and that is the platforms.” Public broadcasters as the best bedfellows is hardly a surprise, given recent cutbacks on commissions from global streamers. With so many platforms tightening their belts, it’s little wonder that broadcasters are looking to one another to help get projects off the ground. Independent producers are, too. IP is King The panel’s participants agreed that established IPs are among the most attractive propositions to any commissioner. For Pastor and RTVE, the appeal of established IP has always been there but become more of an imperative lately, given the uncertainty of the current production landscape. “We’re in an environment where we are taking less and less risk, and IP is getting more and more important,” said Pastor. “For us, it’s critical.” Crime Thrillers Work Everywhere Each panelist agreed that their audiences have an insatiable hunger for crime series but that each market has its own nuances and codes that audiences expect in their shows. Room for Improvement with the easyJet Generation According to Zatta, young audience demographics are changing and becoming more international, requiring commissioners to take a more diverse approach in picking their projects. Introducing Domestic Audiences to the Global Programs When it comes to distributing breakout international hits outside of their domestic territories, the streamers are the unquestioned kings of the hill. That said, broadcasters are still keen on finding foreign gems of their own. Whether through commissions, acquisitions or co-productions, broadcasters are always on the lookout for something to surprise viewers. #TV #streaming #Europe

From the FT: Ted Sarandos, co-chief executive of Netflix, flew to London later in the week to celebrate its success at a Royal Television Society event. Three out of Netflix’s top four shows globally (Fool Me Once, Baby Reindeer, and The Gentlemen) in the first half of this year were produced in the UK, and the other was Bridgerton, US-produced but filmed in Britain. “All of them became global sensations because they were all, in their own way, authentically British,” he said. Netflix has invested nearly $6bn in the UK over the past four years, working with more than 200 producers and 30,000 cast and crew between 2020 and 2023. Since the first series of The Crown in 2016, the UK has become the company’s biggest production hub outside North America. But the mood among British TV producers at the RTS was gloomier than this suggests. Alex Mahon, chief executive of Channel 4, was not unusual in declaring: “It is an incredibly tough time to be an indie [independent production company] in the UK right now”. Despite the proliferation of film studios and proud talk of British creativity, money is tight. This is partly owing to retrenchment in Hollywood as the era of “peak TV” recedes and #film and #TV companies consolidate. Although Netflix says it is still investing heavily, primary UK commissions by international companies fell by nearly 15 per cent in 2023 to £1.1bn after a post-pandemic bump, according to Pact, the trade body for independent producers. It also reflects cutbacks by UK public service broadcasters as budgets are affected by a drop in advertising and the BBC tries to reduce its costs. The worry for independent producers extends beyond a cyclical downturn. There is also a widening gap between small companies that have borne the brunt of the squeeze and the largest, most prolific companies, with the scale and credibility to work with Amazon and Netflix. As in other industries, globalisation expands the market for those who are already strongest. This flow of business is enticing investors. All3Media, the UK producer behind Fleabag and Squid Game: The Challenge, was acquired for £1.15bn by the US investment group Redbird IMI this year. But globalisation can also be brutal on those left behind. As #UK broadcasters attempt to match Netflix in high-budget drama and documentary, there is less money to commission less glossy and prestigious shows. “The middle ground of lifestyle and factual entertainment gets cut, and the middle is where my members live,” said John McVay, chief executive of Pact. Pact has more than 700 members, reflecting the broad production base built in the UK since 1982. This was when Channel 4, which relies entirely on commissioning independent producers, started broadcasting. That ecosystem, supported by public service broadcasters and tax breaks, has been vital to what Sarandos referred to as “a creative culture unlike any other”. The question is what happens to the ecosystem now. #streaming

A fascinating and useful read. Highly recommended for film/TV people.

The Evolution of Television: A Journey Through the Test of Time Television has been a cornerstone in the evolution of global communication, serving as a powerful medium that transcends borders and cultures. Its ability to disseminate information, entertain, and influence public… #EvolutionofTelevision >>>>> Full article in the link below