Despite enduring years of budget reductions, corporate consolidations, strategic shifts, and executive cutbacks that have dulled the enthusiasm of many in the television industry as commissioning figures continue to fall, Banijay Entertainment‘s chief of scripted content Steve Matthews believes this is the moment to aim higher.
“I genuinely see a glimmer of optimism right now regarding a willingness to take some creative risks. The situation isn’t as bleak as it was a few years back,” Matthews stated on Tuesday during his address at Rome’s MIA Market.
After several challenging years marked by what Matthews described as “extremely cautious” decision-making among streaming services, those same platforms are now asserting that they’re evolving and “not quite like that anymore.”
“I feel it’s getting better. There’s been this cyclical mindset among producers convincing ourselves that buyers are risk averse, and it keeps feeding itself,” Matthews explained. “But now is the moment for us to give a little nudge… I sense that buyers are becoming more receptive to diverse ideas.”
Recent successes, like Netflix’s “Baby Reindeer,” have shown a pathway to global acclaim, noted Tesha Crawford, EVP of international television at New Regency in the U.K. She emphasized how the series utilized a “highly localized and specific” narrative to captivate a worldwide audience.
“I believe it resonated deeply due to its honest portrayal of themes like abuse and trauma,” she shared. “Being clear about your narrative intentions is impactful.”
“What we prioritize is the vision behind the creation – placing high value on that individual and their writing team,” remarked Larry Grimaldi, senior vice president of creative affairs and original movies at Fox Entertainment Studios. “We seek that distinctive perspective; when you engage with a writer, you should feel they uniquely own that narrative.”
As they pitch these stories to audiences, Grimaldi recognized the industry’s growing dependency on “the face in the box” — a term referencing the trend of casting well-known actors whose images drive viewer engagement.
“Television was once a platform for discovering fresh talent – new actors and writers. It’s regrettable that we lean on these predictably safe choices,” he lamented. “There is certainly a role for both approaches.”
Léo Becker, head of international originals and co-productions at France’s Federation Studios, mentioned that producers often go to great lengths to capture attention in a fiercely competitive market.
“Whether it’s a recognizable face, a major creator, an established intellectual property, or something entirely novel — that’s how you can tailor a show for the global market,” he described.
Becker, currently executive producing a reimagining of Charles Dickens’ “Tale of Two Cities” for the BBC and MGM+, revealed he declined multiple iterations of the series until he received a proposal featuring “Game of Thrones” star Kit Harington, who had long been eager to take on this project.
“You can work with the same intellectual property and narrative, but if you don’t develop and package it correctly from the outset, it won’t succeed globally,” Becker stated.
Brendan Fitzgerald, CEO of Spain’s Secuoya Studios, concurred that engaging top talent can be crucial to getting a project through to production. He elaborated on his company’s strategy of obtaining sought-after actors as executive producers on a “two-step deal” that guarantees their participation if the project receives the green light.
“That instantly generates momentum, credibility, excitement, and buzz around our pitches,” he noted. “It also empowers the actor to be genuinely involved in driving the project from the start.”
There is no universal solution, according to New Regency’s Crawford. “It’s about tailoring the approach based on what best serves the project creatively,” she mentioned. “Some actors may not boast large social media followings, yet they are well-known and beloved. The key is to craft interesting roles for them.”
“It isn’t just a matter of calling an agent to land the biggest star on TV,” added Christian Rank, managing director at Sweden’s Miso Film. “It’s about organic packaging. The story must come first… How can I make this resonate? How can I connect the right individuals at the right time to make these commissioners feel secure?”
Gaining favor with commissioning agents might be part of the job for TV producers in 2025. Nevertheless, Banijay’s Matthews reaffirmed his belief that series creators can “push the envelope a bit” in today’s landscape, urging them to take significant risks.
“Whatever direction you choose to pursue, go all in,” he encouraged. “Don’t dilute your vision.”
The MIA Market in Rome runs from October 6 to 10.
