Why education can pay for distributors

Distribution sales into the educational and non-theatrical markets might not compare to deals struck with deeper pockets broadcasters and streamers, but opportunities are emerging.

For the right content, museums, universities, libraries and specialist streamers around the world can provide another lease of life to a show and another revenue stream. TVF International’s sales executive, Alex Lindsay, tells Broadcast International how her company is approaching these relatively untapped markets.

When we think about distribution, we often focus on sales to traditional broadcasters or streamers. Why do you think we should also consider the educational and non-theatric market?

The educational and non-theatric market, which encompasses academic streaming providers, museums, schools, universities, libraries and more, is often overlooked in the world of distribution, in favour of broadcasters and streamers with higher brand ID. Nevertheless, this is a growing market, full of opportunities for those who can be quick and adaptable.

Whilst linear free TV and pay TV broadcasters are often focused on what is brand new to market, the right titles can have a long life in the non-theatric space, where addressing the key topics discussed by educators is often more important than production year. Many platforms now pay royalties, providing producers with long-term remuneration for their work. Unlike on direct-to-consumer OTT platforms, titles often build in popularity, rather than diminishing over time. As more and more educators discover titles that work for them, programmes are integrated into curriculums and build a consistent viewership.

It is also hugely rewarding to deliver titles direct to learners of all ages. This year I have licensed titles to educational streamers servicing universities across the globe, but I have also placed titles with companies providing hospital waiting room entertainment, facilitated screenings in museums, embassies and more. Working in the non-theatric and educational space is not only a fantastic commercial opportunity – it is also an amazing way to further the social impact of our titles. As a factual distributor, this aligns closely with both our own and our producer partners’ desire to educate and expand viewers’ perspectives.

You mention that this market is growing. What are the current trends?

Every sector is feeling the shift to digital; this is true for educational institutions and libraries too. The threat of declining library-use over the last decade has forced libraries to adapt in order to survive. For many, this has meant providing their users with digital and multimedia content.

OverDrive’s streaming platform, Kanopy (accessible with a library card), boasted 13 million hours watched in 2023, a 14% growth on 2022. Video was already increasingly integrated into education, but remote learning during the pandemic has accelerated this trend. More and more, students and library-goers expect some kind of digital offering, including video. At a time when a lot of the discussions in our industry are about contraction, the growing educational and non-theatric market can provide an important counter-balance for distributors and producers.

The audiences of educational and non-theatric platforms are slightly different to that of other broadcasters. What kind of titles are in-demand in the space?

Last year we sold nearly 250 hours of programming to non-theatric partners. From Genepool’s premium science documentary Carbon: The Unauthorised Biography (1 x 55 / 1 x 89), to ABC-commissioned Sperm Donors Anonymous (1 x 57) and CNA’s Inside Air Cargo (2 x 48), there are homes for a huge variety of titles in this market. The key is understanding the bespoke needs of different platforms.

For academic streaming providers, titles have to deal with topics on the curriculum. The most successful titles look to the emerging challenges being hotly discussed at schools and universities. There has been a lot of interest in AI in the past year. Our titles AI & You (1 x 52), produced by Animo TV for RTE, and AI at Work (1 x 52), have sold to multiple educational partners. In a post-truth world, media and communications is also in high demand. Wingspan’s Fake News: A True History, which first aired on the BBC in 2019, continues to be one of our best-selling titles in the educational market because of its enduring relevance in this field.

However, the demand is not only for informative, academic content. Educational clip rights buyers - often making videos for language learners - look for character-driven stories about relatable young protagonists, like the CNA-commissioned Limitless (4 x 48), an inspiring series following diverse teenagers chasing their dreams against the odds. Library streaming providers operate more like traditional VOD platforms, and are keen on more clickable genres such as true crime and sex and relationships.

The one consistent trend across the market is that one-offs perform well – first and foremost, they are easier to integrate into lessons. At a time when many TV channels are prioritising volume, the non-theatric market can provide homes for unique and impactful one-offs.

What is the key to success in this market?

As a factual distributor, there is an obvious synergy between the TVF catalogue and the educational market. Premium science, history and arts titles such as Bending Light: Proving Einstein’s Theory of Relativity (1 x 52 / 1 x 84), Paradox Film’s The Long Road to War (2 x 58) and the Sky Arts-commissioned Will’s Book: Shakespeare’s First Folio (1 x 60), find natural homes within the educational and non-theatric markets.

But perhaps more important is having a broad, international catalogue. The subjects covered in higher education, or that interest curious library-goers, are near endless. I am constantly receiving request for titles on highly specific topics. This year alone these have included ageing in the modern world, video game culture and underwater caves. It is therefore key to have a diverse catalogue, full of unique, eye-opening titles such as Fluid: Life Beyond the Binary (1 x 60), a Kensington Communications production for CBC in Canada that we sold to educational platform Swedish Films.

The non-theatric market itself is also unique: buyers have distinct needs. A genuine passion for the market is important, as it takes time to grow deep understanding of how it works. TVF’s granular approach to sales has allowed me to explore these subtleties. With so many rapid changes happening at the moment, it is important to be nimble and adaptable. The fact that TVF have such a large sales team means we have the capacity to immerse ourselves in this corner of the market, learn its intricacies and ensure we aren’t missing out on valuable opportunities for our producers.