{"id":13458,"date":"2024-10-18T08:24:50","date_gmt":"2024-10-18T15:24:50","guid":{"rendered":"https:\/\/movieetv.com\/?p=13458"},"modified":"2024-10-18T08:26:09","modified_gmt":"2024-10-18T15:26:09","slug":"streamers-evolving-tactics-create-new-dynamics-for-broadcasters-and-indies","status":"publish","type":"post","link":"https:\/\/movieetv.com\/2024\/10\/streamers-evolving-tactics-create-new-dynamics-for-broadcasters-and-indies\/","title":{"rendered":"Streamers’ evolving tactics create new dynamics for broadcasters and indies"},"content":{"rendered":"
In a spectacular display of dominance, the recent Royal Television Society conference in London saw Netflix<\/strong> assert its influence, transforming the event into a grand showcase. Ted Sarandos<\/strong>, Netflix’s CEO, was joined by industry heavyweights like “Peaky Blinders” creator Steven Knight<\/strong> and soccer icon David Beckham<\/strong>, 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<\/strong>.<\/p>\n 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<\/strong>, Sarandos praised the U.K.’s TV production prowess yet emphasized the urgent need for the industry to embrace change.<\/p>\n 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<\/strong> 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).<\/p>\n In the U.K., where 2008 legislation allowed producers to manage their IP, the cost-plus model seemed outdated, even if lucrative.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<\/strong> 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.”<\/p>\n 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<\/strong> from Prime Video stressed the increasing flexibility in rights, especially in Europe.<\/p>\nThe essence of Sarandos’s keynote: Embracing change<\/strong><\/h2>\n
Evolving strategies in Europe’s streaming landscape<\/strong><\/h2>\n
The U.K. scenario<\/strong><\/h3>\n
Shifting towards flexibility and local partnerships<\/strong><\/h2>\n
Innovative co-productions and territory-specific deals<\/strong><\/h3>\n