As a seasoned industry analyst with over two decades of experience under my belt, I must say that the current state of the European broadcasting landscape is fascinating. The rise of streaming giants and traditional broadcasters like TF1 working hand-in-hand to commission content is a testament to the evolving nature of entertainment today.
Gallic TV has cause to celebrate.
This summer’s Olympic opening ceremony in France broke world records by garnering 1.5 billion views worldwide, making it the highlight of the television broadcast year. The locally produced event took viewers on a lavish voyage along the Seine River (although it should be noted that the journey included some contentious pauses).
Following this, the groundbreaking games that ensued solidified Paris as the prime television hotspot for 2024 – inspiring local content creators and global broadcasters to capitalize on this newfound connection.
Without a doubt, many of the scripted shows premiering at this year’s Mipcom exhibit a strong affinity for local flavor, from bubbly crime dramas to chilly mysteries. They firmly believe that this level of specificity can give their programming an edge in the competitive market.
Leona Connell, Chief Commercial Officer at Newen Connect, notes that France’s stunning locales can be valuable resources,” she says, alluding to crime dramas filmed in the South of France such as “Carpe Diem” and “Panda.
Connell explains, “We often call these types of series ‘blue sky procedurals,’ because they’re bright and cheerful, both in their settings and their overall mood. We’re immersed in a world filled with sunlight, which gives us the freedom to infuse more laughter. This takes viewers to a delightfully sunny and amusing environment.
In the territories of Europe, which consistently serve as major importers for French goods, the charming landscapes and picturesque views of Gaul function not only as appealing backdrops but also as valuable marketing resources. These visuals work in tandem with France’s audiovisual content to promote the country on a global scale.
Julia Schulte of France TV Distribution emphasizes the importance of identifying unique aspects, particularly when managing territories with robust domestic audiovisual industries. She explains that a distinctly French backdrop and style can make our series stand out against German and British counterparts by presenting an entirely different world.
As a movie reviewer, I’ve recently had the pleasure of diving into several captivating series that showcase the beauty and charm of various locations. For instance, Newen Connect’s “Carpe Diem” and Mediawan Rights’ “Tom et Lola,” both set along the sun-kissed Mediterranean coast, make brilliant use of their azure surroundings. On the other hand, France TV Distribution’s “Unsuspected: Autopsy of a Two-Faced Killer” offers an intriguing glimpse into the cityscape of Paris. Each series effectively weaves its location into the narrative, making it an integral part of the viewing experience.
According to Schulte, the Olympics have demonstrated that Paris holds a certain magic that captivates people worldwide, including English speakers. We not only market French expertise in manufacturing, but also French regions that attract fans globally.
In the beautiful town of Cannes, France, television will premiere “Sea Shadows,” an exciting prime-time drama that combines elements of environmental thrillers with creature-feature aspects. This series, which showcases the rugged natural beauty of the Normandy coastline, is not just visually stunning but also boasts high production value, as producer Schulte notes, “They really went all out.” The production’s grandeur directly reflects the breathtaking landscapes it presents.
According to Schulte, the starker light and seascape setting are common across all markets. People seem to connect with these visuals. Thus, by adopting a more somber aesthetic, featuring cooler lighting, we can also link our production with other English-speaking and Nordic productions.
With “Sea Shadows” and an upcoming drama shot in Northern France (to be unveiled at Mipcom), France TV aims to make a fresh impact.
Schulte proposes offering a distinct perspective in French literature. “Instead of just the bright coastlines of the French Riviera, we can delve into darker, more authentic tales by showcasing the striking scenery of Northern France,” he explains.
Gallic producers also have cause for caution.
In today’s highly interconnected global marketplace, the French industry finds it challenging to sidestep broader economic downturns. Furthermore, following international market patterns, the number of TV commissions in France dropped in 2024, marking a 2% decline compared to the same period the previous year in terms of first-run content.
In a shrinking market, Scripted has experienced a decrease of 7% in overall commission earnings. Notably, in this challenging environment, commercial free-to-air broadcaster TF1 and global streamers have collaboratively accounted for approximately 47% of all commissions catering to an adult audience.
Currently, France Television continues to be a significant figure in both reality shows and family-friendly programming, consistently producing the latter even as there are fewer commissions across the industry.
According to Ampere Analysis co-founder Guy Bisson, if you merely examine the data, France appears to be struggling. However, this doesn’t necessarily mean the French industry is in trouble. The reason being, at present, everything seems to be experiencing a decline. It’s not that the situation is completely dire, but it’s also important to note that this isn’t the whole picture.
As a cinephile penning my thoughts, I find myself drawn to the compelling tales of crime that have graced this year’s Mipcom sales slates. It seems that for our French counterparts, there’s never been a better time to cash in on the crime genre, as it continues to resonate strongly and consistently across their productions.
According to Bisson, about half of the content commissioned by streamers in Western Europe belongs to the crime genre. Since streaming platforms now essentially function as general markets, this area is currently where most activity is taking place. Dramas with a hint of romantic and sexual tension are likely to perform exceptionally well, he adds.
Quite serendipitously, it turns out that the specific genre you mentioned has emerged as France’s primary scripted export in recent times. The “light crime” genre, as it’s known, has become a staple in a nation recognized for its contributions to this field.
In recent times, France has made a name for itself as a leading force in light crime dramas, thanks to hit series like “HPI” and ‘Tandem’. These shows strike a delicate balance between investigation and everyday life, providing a more approachable, human perspective. They skillfully combine suspense and humor, maintaining a family-friendly atmosphere.
Leona Connell, Chief Creative Officer at Newen Connect, explains that the harmonious fusion of action, family, and romance will resonate strongly with a vast array of viewers. Each episode stands independently, while the series as a whole presents an engaging ongoing narrative that keeps audiences hooked. The shows possess an endearing quirkiness, boasting compelling female leads who may have their imperfections, making them relatable to the audience.
Without a doubt, numerous examples of the genre will be found in Cannes, with fresh entries such as Mediawan Rights’ “Tom et Lola” and Newen Connects’ “Carpe Diem,” along with returning hits like Federation Studios’ “A Case of Kin” and “Deadly Tropics.” There are many more to discover.
In addition to “Carpe Diem,” which focuses on a lawyer wrongfully jailed for a crime he didn’t commit, fighting for the innocent, Newen Connects’ collection also offers original programs like the humorous family art-heist comedy “Cat’s Eyes” and the procedural drama “Flashback.” This show follows a detective who unexpectedly travels back 30 years to team up with her unknowing father.
As the owner of Newen Connect and the biggest French commissioner of scripted dramas, making up approximately 27% of series orders this year, the free-to-air network TF1 has significantly contributed to satisfying the rising demand in this market.
According to Connell, the broadcasters responsible for airing the shows fully grasp what it takes to succeed during challenging periods. Historically, TF1 has been known for hosting a large amount of U.S.-acquired content, so the shows they commission must be exceptionally good in order to compete with studio productions. The crime procedurals have proven particularly successful, especially those that maintain a more casual tone.
Connell notes that viewers aren’t always seeking the most intense programming. Instead, presenting a multi-dimensional protagonist who juggles personal and professional responsibilities mirrors contemporary society more effectively, making it accessible to a diverse range of people.
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2024-10-18 17:20