Banijay Entertainment’s Steve Matthews Drills Down on Europe’s Crime Boom, ‘Local for Local,’ Genre as a ‘Scalpel to Cut Into Society’

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Banijay Entertainment’s chosen series for Series Mania highlight the impressive progress the media titan has made in scripted productions, particularly showcasing their extensive variety.

Apple TV+’s “Carême,” produced by Banijay’s Shine Fiction, kicked off Europe’s largest TV festival with a depiction of the world’s first celebrity chef, Antonin Carême in the Napoleonic era. As EbMaster reports, this series presents Carême as a “seductive rock star.

As a movie enthusiast, I’d put it this way: “I recently watched ‘A Life’s Worth,’ showcased at Series Mania in International Panorama, which tells the gripping tale of a group of Swedish volunteers who formed the first U.N. battalion and were dispatched to Bosnia in 1993.

As a follower, I’m excited to be part of the discussion about “Weiss & Morales,” a series that brings together two dynamic European public broadcasters, ZDF from Germany and RTVE from Spain. In this thrilling show, German and Spanish detectives are teaming up to solve a mystery in the stunning Canary Islands, where Banijay-owned Portocabo, known for its breathtaking landscapes, serves as our backdrop.

In January, Steve Matthews didn’t assert that he oversaw the development of every single scripted series at Banijay. Given that Banijay is the largest independent TV production company globally with 130 labels, 60 of them being scripted, it would be impossible for him to do so.

Matthews has historically assisted up-and-coming writers with shaping the global appeal of their works, particularly during his tenure at HBO Europe from 2014 to 2023, prior to joining Banijay. His contributions often involve giving local stories a genre twist that overseas audiences can understand or providing narrative momentum for better marketability.

A number of television executives hold unique perspectives regarding the current transformation in worldwide television dramas. Prior to Series Mana, Matthew had a discussion with EbMaster to identify crucial expansion trends and offer insights into complex market obstacles.

At the Berlinale Series Market, you mentioned that according to Ampere Analysis, crime thrillers made up 43% of the top six global streamer’s scripted series commissions during the second half of last year. Is this a significant trend in market demand? If yes, how is Banijay adapting to it?

Banijay appears to handle matters in a manner that’s unique to each individual market they operate in. Since every market is mature and self-sustaining, it’s up to them to identify potential buyers and determine their strategies. It seems that they are all adapting to the current market trends, with a focus on crime-related content, although television has always had a strong emphasis on crime narratives.

Why is that?

Crime narratives inherently involve high tension and elements of enigma, and they span an expansive spectrum, encompassing works such as “True Detective” and “The Undoing,” among many others.

If such a catchall, are there any kinds of crime drama which you find particularly interesting? 

In my professional capacity, I tend to examine specific sub-genres within the broader category of genre, often focusing on those that are less commonly explored due to my background at a streaming platform. I particularly encourage writers to delve into psychological thrillers, such as mysteries that revolve around questions like “Did my spouse really commit the crime?” or “Domestic dramas with a psychological twist.” These types of stories can be challenging to find, but they’ve proven effective in the past. Additionally, if I had to place a wager, I would guess that a genre blend between crime and supernatural may emerge in the future.

Do crime dramas often follow predictable patterns? Is it possible that the prevalence of crime doesn’t automatically lead to a decrease in quality or artistic value?

Whenever someone inquires about the golden age of television, I point them towards HBO’s offerings from 1999-2002, an era characterized by a remarkable renaissance. To elaborate, “The Sopranos” is a crime drama, while “The Wire” falls under the cop genre. However, it’s important to recognize that genres can change and grow over time. I often encourage budding writers, especially those who view genre as a limitation, to understand its value as a tool for brevity, a means for dissecting society, and a lens for observation. Fortunately, I seldom find myself needing to argue this point with established production companies.

Can you point to a Banijay crime drama you’re happy about?

I’m thoroughly delighted with “Weiss & Morales,” set to appear at Series Mania. I believe it’s an exceptional production. A timeless, marketable, and comprehensible collaboration between two distinct entities, hailing from different regions. It revolves around cops unraveling mysteries under the sun. What could possibly be amiss with that?

Do you sense any other market trends which might be seen  one way or another at Series Media?

Although I’m not as confident when it comes to romance, it appears that romance is currently a significant focus for Spain’s Pokeepsie Films, under the leadership of Alex de la Iglesia and Carolina Bang, as demonstrated by their hit film “Mea Culpa.” However, from my perspective, crime in various forms seems to be more prevalent.

Over the past several years, prominent European companies such as Fremantle, Studiocanal, The Mediapro Studio, and Federation Studios have been increasingly producing English-language series. This shift appears to support the trend, which emerged a few years ago with the rise of streaming platforms, toward the increasing popularity of non-English language shows.

For quite some time, we’ve all been pondering over this dilemma. The question remains unanswered. Before the rise of streamers, Nordic Noir had already hinted at the potential of subtitling TV content. At HBO Europe, I found myself in the perfect spot at the ideal moment. We envisioned a future where characters wouldn’t speak English with peculiar accents, but instead, their native language based on their origin. However, “Chernobyl” arrived and we wondered if there might be an exception to this rule.

Surely there is a market demand for English or paradoxically, a local language?

Indeed, local buyers on a production company’s market can have varying preferences – some may prefer one approach while others might favor another. I won’t pretend that this doesn’t lead to conversations between writers and the distribution team, as there’s a clear trend towards more English-language content in the distribution market. However, it’s not my place to dictate which direction companies should go; instead, both options should be accommodated.

Aren’t there even contrary market demands at work at the moment?

Absolutely! Let me clarify: Are we focusing on content for the local or international audience? I recall a quote from the author of “The Chestnut Man” stating that he was advised by Netflix to not dilute the Danishness of his show if he wanted it to succeed globally. This resonated with many in the local television industry.

And if you sense that a local series has overseas potential?

I generally aim to keep labels as specific as they can be. However, when I come across a project that seems poised for global success, I provide additional support for it. This is where I focus my efforts, trying to elevate the project just a bit more, to give it an extra sparkle and magical touch during development. Not every project is destined for international stardom; some are simply local productions like a small-town sitcom, which is perfectly fine too. The current TV landscape offers ample space for a variety of content.

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2025-03-26 15:47