This week, content shoppers – the key players in today’s television industry – are receiving a warm welcome at the fifth London TV Screenings and the inaugural MIP London. These events, organized by RX France, are being positioned as an extension to the independent distributors’ carefully selected screenings showcase in the U.K. capital.
In the whirlwind of over 900 attendees flocking to Soho’s venues, I’ve had the privilege of hearing from four influential industry titans about their desires for acquisitions spanning scripted, unscripted, and format content, as well as their innovative strategies to captivate audiences amidst the ever-changing global political landscape.
In this context, Eva Kamin, Vice President of Acquisitions and Co-Productions at ZDF Studios in Germany, and Manuel Alduy, Head of International Fiction and Cinema at France Télévisions, share their perspectives on public service. On the other hand, José Antonio Salso, Head of Acquisitions and International Sales for Atresmedia in Spain, and Cathrine Wiernik, Director of Programs and Acquisitions for TV4 Media in Sweden, represent the commercial viewpoint.
The public service views are represented by Eva Kamin, Vice President of Acquisitions and Co-Productions at ZDF Studios in Germany, and Manuel Alduy, Head of International Fiction and Cinema at France Télévisions. In contrast, the commercial viewpoint is presented by José Antonio Salso, Head of Acquisitions and International Sales for Atresmedia in Spain, and Cathrine Wiernik, Director of Programs and Acquisitions for TV4 Media in Sweden.
Some short takeaways:
London Calling Out Loud
Despite being sandwiched between Berlin’s TV Series Market and Lille’s Series Mania, the carefully selected London TV Screenings exhibit remains a crucial event for European buyers. In fact, its allure has grown even stronger now that MipTV Cannes is no longer running, according to Salso. The outcome of the first-ever MIP London is still uncertain.
Crime, Emotions, YA
In a market that Ampere Analysis’s Guy Bisson refers to as being 75% at its peak, crime remains the top preference for buyers due to its continued ability to drive audiences. According to ZDF’s Eva Kamin, other popular genres include heartfelt and compelling human stories, both scripted and unscripted, with a contemporary appeal and some newsworthy aspects. Wiernick also notes that flagship international series featuring A-list actors are crucial for boosting brand value and attracting viewers across various platforms like linear and streaming. Additionally, France Télévisions is on the hunt for exceptional European young adult series. As for formats, Wiernick shows interest in robust reality shows, which are effective at drawing younger audiences, as well as English or Nordic adaptations of popular brands such as “The Bachelor” and “Love Island.
Foreign Picks Vital in Content Mix
In the world of TV broadcasting, acquisitions play a crucial role in the lineup of content providers, serving as a budget-friendly alternative to locally produced shows. International series offer a wider variety of genres and narratives, catering to diverse age groups and helping cut programming expenses. As France Télévisions’ overall budget is being slashed by over $135 million between 2024 and 2025, Alduy has had to adapt his approach. He now prioritizes pre-buying and acquiring shows in the near future to ensure timely delivery of series for viewers, he explains.
Stable Asking Prices
According to Kamin, last year saw unusually high prices in certain regions, but overall they’ve stayed relatively constant thanks to a beneficial supply scenario. On the same note, Wiernick agrees, noting that since the onset of the pandemic, there has been a noticeable decrease in prices across the board.
Flexi-Rights Policy
At the latest TV Drama Vision in Göteborg, Morad Koufane, head of international and young adult drama at France Télévisions, encouraged everyone in the industry – producers, commissioners, distributors – to embrace flexibility when it comes to scheduling releases, essentially adopting a flexible approach to release windows. His colleague Alduy added that they’ve grown more adaptable regarding release windows, license periods, and exclusivity. However, he emphasized one essential condition: free Video on Demand (VOD) and linear broadcasting should be allowed.
In the rapidly merging content market where streaming has become the primary distribution method, obtaining all necessary digital rights, including those traditionally linear, can be a formidable task that’s certainly worth engaging in during negotiations.
Buyers Full Answers:
Eva Kamin-VP acquisitions and co-productions, ZDF Studios.
How important is the London TV Screenings market for you?
Attending the London TV Screenings is essential, particularly because it’s become a highly valuable event for catching glimpses of upcoming series during the early part of the year. It also offers a fantastic opportunity to connect with various international business associates from all corners of the globe.
What type of content are you looking for?
At ZDF Studios, our role is to procure a vast array of content tailored to ZDF’s requirements across various distribution platforms. In terms of fiction, crime dramas remain a significant audience magnet for ZDF. For ZDF neo, we can source multiple genres and formats that resonate with the ZDF viewership, and we always aim to secure popular high-end international dramas. As for factual content, our focus is on historical material, standalone programs for the main ZDF channel, and series for digital channels.
Have there been any recent changes to your budget for acquiring content, and if so, how have these adjustments influenced the kind and quantity of content you purchase?
At present, we’re dealing with a highly unpredictable market situation, making it tough for both joint productions and purchases. The price fluctuations have long been an issue, but there are numerous intriguing projects circulating that we can potentially work on.
In this rephrased version, I’ve attempted to maintain the original meaning while using simpler, more conversational language to make it easier for a wider audience to understand.
How do your acquisitions complement the commissions within your group?
ZDF aims to enhance their self-produced content by acquiring shows in both factual and fictional categories. Doing so empowers the ZDF Studios acquisition team to procure a broad selection of programs for ZDF. In the realm of fiction, this mainly involves international projects boasting diverse settings and actors.
When it comes to negotiating rights, what takes precedence for you? Have you noticed any changes in the going rates for series over the past year?
Our main objective is to create an extensive rights structure that provides easy access across all ZDF distribution platforms, while preserving exclusivity. Last year, prices spiked in certain regions, yet they’ve generally stayed consistent thanks to a beneficial supply scenario.
How have you adapted your acquisition strategy to today’s shifting global market?
It’s clear that having an online presence is essential for reaching our audience. Therefore, we always strive to secure broad rights for these distribution platforms, and we firmly refuse to accept any limitations in this area.
Manuel Alduy, head of cinema and international development, France Télévisions
1. How significant is the London TV Screenings event for your company, and are you looking forward to the launch of MIP London? (Informal)
2. In what ways does the London TV Screenings market matter to you, and are you excited about the arrival of MIP London? (Casual)
3. To what extent does the London TV Screenings fair impact your business, and are you eager for MIP London’s debut? (Friendly)
4. How crucial is the London TV Screenings event to your operations, and are you thrilled about the commencement of MIP London? (Relaxed)
5. How pivotal is the London TV Screenings market in your plans, and are you anticipating the onset of MIP London with enthusiasm? (Approachable)
Each year, London TV Screenings are a significant event, as France Télévisions values European series over American shows when making acquisitions. A month before Series Mania, we eagerly attend this event in London, hoping to learn about the strategies of UK broadcasters and find new series. Regarding MIP London, it’s still early to predict and offer opinions on its outcome.
What type of content are you looking for?
Our group aims to discover premium, thought-provoking mini-series, a restricted amount of ongoing crime shows with exceptional storylines, as well as captivating young adult tales. In this genre specifically, we strive to choose the cream of the crop from top European young adult series.
Has there been any recent change in your budget for purchasing content, and if so, have these changes influenced the kind and amount of content you’ve been buying?
Due to budget limitations, we’ve decided to cut back on the number of licensed TV series and instead opt for reruns of French series during less critical time slots.
How do your acquisitions complement the commissions within your group?
International collaborations enable us to introduce a wider range of genres and narratives, cater to younger demographics and cut down on production expenses. We are dedicated to maintaining our international co-productions as they infuse a distinct “French flair” into locations, casting, and/or plotlines. Here are three examples scheduled for 2024: we’ve completed “Kabul,” produced by 2425 Films and Cineteve; “The Kollective,” produced by Submarine; and “Monte Cristo,” co-produced with European Alliance partners ZDF and RAI by Palomar and DEMD.
However, due to their intricate financing requirements, co-productions have grown more challenging. For the moment, we’re shifting our focus towards acquiring and pre-purchasing content, as this strategy allows us to swiftly produce series for our audience, meeting their demand for timely releases.
“When it comes to negotiations about rights, what matters most to you? Have you noticed any changes in the typical asking prices for series over the past year?
The market is abundant with exceptional television series: various distributors, studios, producers, and streaming platforms are presenting acquisition or pre-purchase deals of high quality. Consequently, we have the luxury to be choosy and decline negotiations when the combination of rights and costs doesn’t align with our interests.
How have you adapted your acquisition strategy to today’s shifting global market?
Our approach has become more adaptable regarding windowing, licensing durations, and exclusivity. Essentially, we strive to be realistic and adapt quickly to a market that’s constantly evolving. However, there’s one condition we firmly uphold: providing free VOD (Video On Demand) and linear exhibitions. This is what our viewers prefer. The trend towards non-linear viewing is increasingly evident, with more prime-time series attracting large numbers of non-linear viewers. We won’t license any series unless the preview, replay, and AVOD (Advertising Video On Demand) rights have substantial value.
As a fervent admirer of the dynamic world of television, I, Cathrine Wiernik, Director of Programs and Acquisitions at TV4 Media, wholeheartedly acknowledge the significance of events like the London TV Screenings. This prestigious gathering provides us with a unique platform to showcase our offerings, forge new partnerships, and gain insights into the evolving trends shaping our industry.
Regarding MIP London, I am thrilled by its expansion into broader markets. The growing scope of this event aligns perfectly with our strategic objectives, offering us an even more extensive network to explore and collaborate with like-minded professionals from around the globe. This widening of the market not only enriches the experience for all participants but also fosters a more inclusive and vibrant industry, driving creativity and innovation at every turn.
The London TV Screenings hold significant importance for us. Alongside Mipcom in Cannes and L.A. Screenings, they are one of the premier events today. They offer us a chance to interact with industry peers and provide us with a comprehensive look at all the latest series for the year. It’s refreshing to have time to view content without being constantly on the move from one meeting to another. We’ve registered for MIP London and eagerly anticipate the experience. The impact it will have remains to be seen, as it might prove challenging to find a place amidst an already bustling and well-established week of screenings.
What type of content are you looking for?
We’re constantly on the hunt for outstanding shows, whether they’re new productions or acquisitions, that boast high appeal and the ability to captivate a wide range of viewers, making them must-watch selections worthy of top shelf placement.
Regarding acquisitions, we focus on suspense dramas or crime series that are in English, forming a substantial portion of our content lineup for TV4 Play. These shows stimulate a high level of viewership. We’re interested in both serialized programs and procedurals, but we pay special attention to shorter runs or event series. Currently, US procedurals are popular, and while we eagerly seek the next successful procedural (with possible future seasons), we understand it involves considerable risk as launching a new title can be difficult. It requires substantial effort and promotional activities, with no guarantee of attracting the desired audience.
Our craving for content in languages other than English is expanding, too. Not long ago, we debuted our second Turkish soap opera, “Daydreamer,” following the massive success of “Golden Boy.” Soap operas serve as a great illustration of high-volume, bingeable content that encourages consumption and keeps viewers returning daily. An essential aspect of our acquisition strategy and a competitive advantage is Nordic drama, particularly Danish crime series, but we’re also witnessing an increasing number of intriguing productions emerging from Norway. We can’t wait to unveil the new seasons of “Nora Sand” (a significant hit for us last year), “White Sand,” “Sommerdahl Murders,” and “Oxen.
We’re constantly seeking compelling human-interest stories and documentaries that stand out, captivating a wide range of viewers. Ideally, they should have a contemporary relevance and a fresh angle. Examples like “My Wife the Abuser” from ITV and “Untold: Inside the Shein Machine” demonstrate this well. Documentaries are also effective in attracting younger audiences and expanding our valuable viewership.
Has a recent change in your purchasing budget for content had an effect on what and how much you’re buying? If so, how has this shift impacted the kinds and quantities of content that you are procuring?
Lately, we haven’t made any significant changes. However, our commitment to cost-effectiveness and sustainable investment strategies remains unwavering. While we are willing to go the extra mile for a highly sought-after acquisition, we usually avoid overpaying or engaging in bidding wars that could lead to excessive price increases.
How do your acquisitions complement the commissions within your group?
Being a prominent national broadcaster serving the entire Sweden, we prioritize offering a diverse range of content to cater to everyone’s taste. To supplement our local commissions/formats, we expand our offerings by acquiring international versions – primarily English-speaking and Nordic adaptations – of popular shows such as “The Bachelor,” “Love Island,” “Survivor,” “The Farm” etc. This ensures that our viewers continue to engage with the service even after the local version concludes. Additionally, we actively seek out more engaging reality shows as they are a significant part of TV4 Play’s identity and key to attracting younger audiences.
In terms of local programming, we’re constantly seeking the next breakout sensation that introduces something unique and innovative to the audience. We aim to discover content that stands out from the crowd, offering more than just a rehash of existing formats. The ideal find should encompass a distinct universe, coupled with a novel concept and an intelligent game mechanic. Just as “Traitors” proved to be a massive hit for us by presenting a fresh new world and strategy gameplay, we’re optimistic about the launch of “The Fortune Hotel” this fall.
1. “When it comes to negotiations about rights, what matters most to you? Have you noticed any changes in the asking prices for series over the past year?”
2. Another option: “What factors do you consider crucial during rights negotiation discussions? Do you believe that the pricing of series has changed significantly within the last twelve months?”
3. Lastly, a more concise version could be: “In rights negotiations, what’s key for you? Has there been a significant change in series prices recently?”
Over the past year, there hasn’t been a significant change, but since the pandemic, prices have generally decreased due to increased production and abundance of content. Crucially, we now need all rights for each of our titles (AVOD, SVOD, HVOD) because ensuring content equality across our service’s tiers is paramount.
How have you adapted your acquisition strategy to today’s shifting global market?
Exclusivity may not be as vital (depending on the position) these days, but rather exploring innovative methods to showcase content. We’re open to various strategies and have seen significant success with secondary windows, like “Yellowstone”. The worth of such a window is clearly determined by where the content initially appeared. Another contemporary example of this evolving approach to [windowing] is the series “From”, which gains from earlier seasons being accessible on other platforms. This increases its reach and consumption for the new season available on TV4 Play.
We’re moving away from strict exclusivity in content distribution and instead focusing on finding creative ways to present shows. For example, we’ve seen success with secondary showings like “Yellowstone”, and a series like “From” benefits from being available on multiple platforms at once. This approach increases its viewership across different channels.
Jose Antonio Salso, head of acquisitions and sales at Atresmedia in Spain, shares that there are ongoing talks about prospective partnerships and co-production deals with our competitors – a scenario unthinkable just a short while ago. This rapid market transformation underscores the importance of adaptability and readiness to embrace change. Additionally, there’s been a significant surge in viewership for robust library titles, as evidenced by the successes we’ve achieved with “The Fjällbacka Murders” and “Worlds Apart,” a TV4 soap that has garnered impressive ratings, even among younger audiences. Naturally, we’re eager to delve deeper into these trends.
As a dedicated movie critic, I find events like the London TV Screenings to be indispensable. They offer an exclusive platform to gain insights into the latest television productions from around the globe. Embracing the expansion of such events to encompass Mip London, with its focus on international content distribution, is not just a wise move but also a thrilling prospect for broadening my horizons and keeping up-to-date with the evolving trends in the TV industry.
The London TV Screenings offer a significant platform in the worldwide audiovisual industry, offering international purchasers a comprehensive look at the latest UK productions and beyond. This year’s event holds extra allure due to the closure of MIPTV Cannes.
What type of content will you be looking for at London TV Screenings?
At Atresmedia TV, we’re constantly on the hunt for universal tales appealing to a wide range of viewers, while still resonating with our local audience. We have a penchant for dramas that elicit powerful emotions, incorporating elements such as romance, deception, camaraderie, and affection that truly grip audiences.
Has a recent change influenced your spending on content acquisitions? If yes, in what way has this alteration affected the kind and quantity of content you are procuring?
N/R
How do your acquisitions complement the commissions within your group?
As a passionate movie reviewer, I’m thrilled to share my thoughts on Atresmedia’s outstanding leadership in Spain’s free TV arena. Their daily dramas like “Dreams of Freedom,” which reigns supreme as the most-watched drama series from Monday to Friday, truly captivate audiences. Prime time offerings such as “Eva & Nicole” and “What are you waiting for?” have also been consistent crowd-pleasers on Atresplayer for months.
Yet, it’s not just about their remarkable local series lineup. Atresmedia smartly complements these hits with high-quality international top content acquisitions, ensuring their viewers never miss out on the best global TV has to offer. It’s a winning combination that keeps me coming back for more!
In what order do you arrange your concerns during negotiations about rights, and have you noticed any changes in the typical prices for series over the past year?
In our approach towards acquiring content, we aim to secure both digital rights for Atresplayer and linear rights for our own channels. This isn’t a simple process because of the intense competition, both on an international and local level.
How have you adapted your acquisition strategy to today’s shifting global market?
We regularly adjust our approach to acquiring content and selling it, adapting to market trends and changes in the global market. This flexibility has helped Atresmedia maintain its position as the top media company in Spain for three years running, and we’re excited about what the future holds.
Moreover, there’s a strong demand for Spanish content, particularly from Atresmedia, that persists. Furthermore, global viewers are consistently drawn towards our shows.
Elsa Keslassy contributed to this report.
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