CEO of Sky Studios, Cecile Frot-Coutaz, as well as the Chief Content Officer for Sky U.K., predicts that the challenges confronting the television sector are unlikely to disappear in the near future.
At Series Mania, she stated that “it’s undeniable that the industry as a whole is experiencing significant structural issues, whether in Europe or America. We are currently undergoing a period of change.
I believe things will eventually find their equilibrium, with a possible adjustment in the industry layout and business strategies. However, I anticipate this transition phase will persist for some time yet, as change often brings discomfort. But rest assured, we can still create exceptional work during these times of transformation.
Regarding outstanding television productions, Sky Studios is currently basking in the success of “Day of the Jackal,” which, by late 2024, had become their most successful Sky Original series ever and was promptly renewed for a second season. Shows like “Day of the Jackal,” starring Eddie Redmayne as its A-list lead, don’t come without a hefty price tag. Meghan Lyvers, executive director of original scripted TV and film for Sky UK and Ireland, stated that such a production necessitated a collaborator, which they found within their own organization.
She expressed her delight about having Peacock as part of the Comcast family for their joint production, and mentioned that Sky has collaborated on another project called “Sweatpea,” this time with Starz.
We constructed this show in a unique economic manner, benefiting significantly from a strong tax incentive in the United Kingdom and a solid license fee.
But Lyvers acknowledged the difficulties in the TV world, especially in her territory.
In regards to the UK market, each creator is grappling with the challenge of crafting groundbreaking series, but as production costs increase and talent deals remain high, they’re not decreasing as anticipated. This issue is a common concern among producers we engage with. Our approach is to discuss the objectives of the show and find editorial solutions that can alleviate some budgetary stress.
Living stated that until there’s a change in the tax system or the talent contract procedure, the best course of action is to revise the budget for the production of the show.
In simpler terms, she pointed out that creating a show aimed at entertaining the audience is crucial, hoping they’ll accept and enjoy it. However, if the production costs become prohibitive, making it impossible to reprise the show, that’s unfortunate.
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2025-03-26 18:46