TV producers offer valuable insights for maneuvering through the international entertainment industry, which is under threat due to Donald Trump’s trade wars, drawing comparisons to a survival guide for navigating an unexpected encounter in the Oval Office with world leaders.
Keep your eyes on the goal and remain determined. As Justin Stockman, VP of Content Development and Programming at Bell Media, a significant partner in co-productions in Canada, said at the Banff World Media Festival on Tuesday, “We have our strategy set. We’re following it and essentially disregarding the diversions.
Stockman stated that if there are any tangible results from the unpredictable trade strategies and warnings by the U.S. president, we can address it at that time. During a discussion about shared funding and collaborative production of international content, he remarked, “We’re simply trying to maintain our focus.
The discussion centered around how major streaming platforms are increasingly embracing windowing and licensing deals, as they move from producing prestige series to procedurals amidst Hollywood’s current financial strain. Alon Aranya, a producer and writer based in Los Angeles with Paper Plane Productions (Tehran), expressed that the industry is somewhat regressing to older business practices when he commented on navigating the rapidly evolving U.S. market.
Aranya stated that the U.S. is moving towards more procedural content, and streaming services are encouraging viewers to opt for ad-tier subscriptions,” Aranya explained. As U.S. acquisition budgets decrease and there’s a shift towards mainstream series, European media companies are promoting their unique advantages to attract major studios and streamers away from the American market, despite Trump’s proposed tariff policies.
Jens Richter, the CEO of Commercial and International at Fremantle Media, encouraged attendees at Banff not to let themselves be swayed by the fluctuating Trump trade policy. He suggested that they should avoid getting muddled by daily developments, as the overall trend will persist. “Television shows must attract audiences, and they need to have a slightly more optimistic tone,” Richter emphasized.
In early May, international artists, producers, and executives expressed surprise and confusion when President Trump proposed a 100% tax on foreign films, given the close connections between the American and global entertainment industries.
Moritz Polter, head of Windlight Pictures, mentioned that one positive outcome of Donald Trump’s perceived efforts to aid Hollywood has been an increased openness among American and British producers towards collaborating globally. The attraction lies in generous tax credits, production incentives, and more secure markets to explore new opportunities.
In light of shifting market dynamics, I’ve come to realize that collaboration between the U.S. and the U.K., which was once a challenge, is now becoming inevitable. This recognition benefits not only our panel but also most European countries. Interestingly, global giants like Amazon Prime Video, Netflix, and Disney have already established production hubs in the U.K., paving the way for European producers to explore British co-production financing and on-screen talent.
Morad Koufane, director of international and young adult drama at France Televisions, has noticed an increase in collaborative projects coming from potential partners in the UK. According to him, the UK market presents the greatest opportunity internationally. The British are eager to engage in co-productions and shared financing, but what he finds particularly appealing is their openness to genuine collaboration on stories and projects. He stated that they have been receiving more proposals from the UK than ever before, which was not common previously.
The aim for these fresh collaborations lies in joining the proven expertise of prominent American and British producers with the current understanding held by European broadcasting stations about navigating the global co-production landscape.
The new partnerships seek to combine the solid background of leading U.S. and U.K. producers with the existing know-how that European broadcasters have in dealing with international co-productions.
As a gaming enthusiast, I’d put it this way: “Just like teaming up with fellow gamers to conquer epic quests, I’m thrilled about our latest partnership with the BBC, another public broadcaster. Together, we’re going to empower independent producers in both markets, creating top-tier dramas that push boundaries. Collaboration is key here, and I believe the best partners for shows are those we find by venturing into new territories.
Previously, ZDF and the BBC approved two productions: “Honey,” a spy thriller from Sid Gentle Films, and the second season of “A Good Girl’s Guide to Murder,” a youthful mystery thriller jointly produced with Netflix and created by Moonage Pictures.
With windowing making a comeback among prominent broadcasters, Harding suggested that all potential partnership opportunities should be considered. “Initially, we’d prefer an exclusive deal within our territory for the duration we desire,” she explained. “However, nothing is definitively ruled out. If a project is clearly outstanding, then it becomes essential to find suitable partners who can help bring it to life.
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2025-06-11 01:54