Weekly: What’s next for TV distribution?

It has been a tumultuous few years for the content industry, with the shifting priorities of streamers - particularly those based out of the US - requiring suppliers to be reactive, agile and nimble.

Reliable financial models for production have been turned on their heads and reliable buyers have largely disappeared, replaced by uncertainty and weakened spending power.

Demands now tend to revolve around cost-efficient programming that puts ROI at the forefront - a tricky requirement for a medium that is innately creative in nature.

Navigating these multiple moving parts and, in many ways, greasing the wheels to keep the whole thing moving, have been the distributors - deploying deficit financing, innovative windowing and partnerships to get shows made.

As buyers head to London TV Screening, MIP London and BBC Studios Showcase, Broadcast International asks leading distribution chiefs how they see the market and what we can expect next. 

Cathy Payne, Banijay Rights chief exec

We’ve talked a lot over the last year about how the market is faring, and the reality is it’s now showing signs of recovery as we all take a more pragmatic approach to business. Of course, challenges remain, and underpinning scripted deficits is certainly one of those. On the formats front, there’s a general focus – and ‘leaning into’ – proven formats and reboots, giving these shows on air the best chance to grow their audience. Generally-speaking, for must-have product, budgets will always be found. However, we’re finding the mid-priced factual and documentary market remains static. Read more

Janet Brown, BBC Studios president of global content sales

The sector continues to be challenged and there is an absolute need to be agile, partner-focused, and creative in response. That said, there continues to be a strong appetite for British content around the world which creates an incredible opportunity. The cost of production remains at elevated levels whilst constraints on budgets continue. Navigating funding for each piece of content often requires a sophisticated approach across multiple partners. Whilst this can add complexity, this could also unlock new opportunities to collaborate and inspire the development and deepening of a new range of on-going partnerships and revenue share models. Read more

Ruth Berry, ITV Studios president of global partnerships

[The industry] feels cautiously optimistic and evolving with market changes. We still see strong demand across all genres with some standouts such as true crime - like our drama Until I Kill You, or factual series, Tik Tok Murders, which sell brilliantly. Global content spending is largely flat, which is good, but audiences are fragmenting into social video platforms and challenging the linear model. We need broad, deep catalogues to satisfy changing programming needs, and across all genres. Read more

Jens Richter, Fremantle’s chief exec officer of commercial and international

The market is course correcting after the pinnacle of peak tv. The US remains challenged as the big players shift strategy and spend remains lower. Buyers remain risk averse, especially around niche content. However, there’s still plenty of appetite for content which hits the right tone, especially as most clients seek shows which appeal to advertisers and are more sought to bolster their domestic VOD outlets. Read more