Streamers adapt new strategies to redefine partnerships with broadcasters and producers

Netflix’s latest power move

In a spectacular display of dominance, the recent Royal Television Society conference in London saw Netflix assert its influence, transforming the event into a grand showcase. Ted Sarandos, Netflix’s CEO, was joined by industry heavyweights like “Peaky Blinders” creator Steven Knight and soccer icon David Beckham, both of whom are actively involved in upcoming Netflix projects. Further raising the stakes, Sarandos announced an exciting first-look deal with “Baby Reindeer” creator Richard Gadd.

The essence of Sarandos’s keynote: Embracing change

Beyond the glitz and glamour, the core of the event was Sarandos’s keynote speech. Addressing a room filled with prominent figures from the U.K.’s television industry, like BBC’s Tim Davie, Sarandos praised the U.K.’s TV production prowess yet emphasized the urgent need for the industry to embrace change.

Evolving strategies in Europe’s streaming landscape

While the message was directed at the broader U.K. TV sector, the winds of change have more significantly impacted streamers themselves, especially in Europe. When Netflix first ventured onto European soil, it brought along its U.S.-proven cost-plus model. This approach, devoid of syndication and performance bonuses, initially met success but soon clashed with European norms, particularly where producers enjoyed control over their intellectual property (IP).

The U.K. scenario

In the U.K., where 2008 legislation allowed producers to manage their IP, the cost-plus model seemed outdated, even if lucrative. However, the global streamers are now rethinking this aggressive rights acquisition strategy, recognizing its unsustainable nature. Guy Bisson from Ampere Analysis points out a notable shift: “Back in 2020, 60% of the top 10 shows on Netflix were originals, now, 60% are acquisitions.”

Shifting towards flexibility and local partnerships

Sarandos highlighted this strategic pivot during his speech, noting that Netflix owns less than 25% of the IP in its U.K. catalog. Echoing this sentiment, Kelly Day from Prime Video stressed the increasing flexibility in rights, especially in Europe.

Innovative co-productions and territory-specific deals

New methodologies are emerging, including collaborations with local public broadcasters. Examples include the BBC/Prime Video co-production “The Outlaws” and the Netflix/BBC project “Lockerbie.” Prime Video is also entering single-territory deals, exemplified by the upcoming drama Fear, which is exclusive to the U.K.

Such flexibility allows streamers to better cater to local tastes while optimizing content distribution. Leo Pearlman, co-founder of Fulwell 73, mentions, “They’re much more open to taking a single territory or a handful of territories and allowing the others to be sold off.”

France’s collaborative environment

While France initially posed challenges for streamers, collaborations with free-to-air channels are fostering a harmonious ecosystem. Prime Video has teamed up with France Télévisions on action thriller “Dark Hearts” and fantasy series “Anaon.” Moreover, partnerships with TF1 for shows like “Cat’s Eyes” underline the adaptability in windowing and deal structuring.

Financial and strategic benefits of the new approach

This strategic shift is not just beneficial for content diversity but also for financial prudence. While streamers aim to control costs, producers appreciate the more significant ownership and control over their IP. A producer revealed that licensing fees for the U.K. from Amazon are comparable to local broadcasters, sometimes even slightly better.

By partnering with local broadcasters and leveraging their strengths, streamers like Hulu and RTE can support high-quality projects while retaining IP. John McVay from PACT highlights the efficiency and attractiveness of co-productions. He notes, “Co-pros are brilliant. Our guys love doing it that way.”

Navigating the competitive landscape

Local broadcasters are also evolving, prioritizing their streaming platforms over traditional linear programming. For instance, the BBC’s iPlayer and ITV’s ITVX are now crucial components of their distribution strategies. This shift sometimes leads to reluctance in partnering with U.S. streamers perceived as competitors.

Nevertheless, the collaboration continues, with success stories like TF1’s partnership with Netflix for hits like “The Bonfire of Destiny.” Rodolphe Belmer, CEO of TF1, emphasizes, “They aren’t direct competitors and we work very well together. It’s a way to put more money into shows and have programs that are more spectacular.”

Future directions: Incentives and transparency

As the era of blanket buyouts wanes, streamers must innovate further. Introducing performance bonuses for high-performing shows could be a new lever. However, the current opacity around viewing figures poses a challenge. McVay suggests, “If they want to remain attractive for the best projects, then maybe they do have to sweeten the deal a bit more.”

With the streaming landscape continually evolving, the interplay between flexibility, financial prudence, and collaborative ventures will shape the future. For more insights and the latest on the ever-changing world of streaming, be sure to share this article on social media and stay tuned for further updates.