Creating international television shows has become increasingly challenging in today’s market. Rising production costs are colliding with shrinking budgets, and even the well-funded streaming platforms that fueled this global industry with significant commissions are now recalibrating their focus. Recent trends indicate a shift towards producing fewer series with an emphasis on cost-effective crime dramas rather than the traditional big-budget productions.
Amidst this shifting landscape, Sabine de Mardt, who became the head of Gaumont’s German division in 2018, has established herself as a prominent figure in navigating these challenges. Under her leadership, Gaumont has delivered an array of remarkable series, including the historical epic Barbarians for Netflix, the post-war narrative The Interpreter of Silence for Disney+/Hulu, and In Her Car, a psychological drama set in Ukraine, produced collaboratively with eight European broadcasters amidst the Ukraine conflict.
Looking ahead, de Mardt’s upcoming projects include the crime thriller Bone Palace for Netflix, the fantasy series Parallel Me for Paramount+, and a modern retelling of the classic children’s story Heidi, produced for the Swiss broadcaster SRF and German streaming service RTL+.
In anticipation of the Series Mania TV festival, de Mardt spoke with The Hollywood Reporter about the evolving strategies of global streamers, the significance of European co-productions, and the impact of U.S. political changes on the entertainment industry.
Shifts in Streaming Strategies
Gaumont is synonymous with high-quality drama, but recent years have seen substantial upheaval in this sector as streaming services alter their approaches. Initially, there was immense optimism in Germany that streamers would allow for darker and more intricate storytelling. While this proved true for a time, the landscape has shifted again. Streaming services that once targeted young demographics are now pivoting to attract older viewers, emphasizing genres like crime and thriller which have proven particularly captivating.
The appeal of the crime genre lies in its strong narrative drive, as illustrated by the structure of popular shows like The White Lotus, which opens with a critical plot point—the body—setting the stage for an engaging storyline.
The Continuation of Bold Storytelling
Despite these trends, the era of courageous television storytelling isn’t entirely finished. Streamers possess an extensive data pool, guiding them toward successful formats, yet public broadcasters remain more experimental and willing to engage with complex themes and relevant social issues to attract younger audiences. This contrasting approach opens doors for more daring narratives, as seen in de Mardt’s recent series, Bone Palace, featuring actors in their 50s, targeting a more mature audience.
Budgetary Trends in Local Content
Regarding local-language content budgets, the assessment varies based on the specific project. Streamers tend to be flexible with funding; however, the path to securing greenlights has become more time-consuming. For instance, the swift approval process for Barbarians is no longer the norm—today’s assessments involve thorough developments and a longer timeline before reaching decisions.
Netflix
Co-Productions and Collaborative Financing
De Mardt emphasizes the importance of collaboration in ambitious projects, such as the reboot of Heidi, which is co-financed with Swiss broadcaster SRF and German streamer RTL+. Political elements factored into this decision, as both parties recognized the necessity for shared financing to create a high-quality historical series. The broadening of risks through collaborations is pivotal given current economic realities, with many networks opening up to co-productions as they navigate this uncharted territory.
Streamers and Licensing Trends
Interestingly, global streaming services have become increasingly amenable to unique licensing and windowing agreements, allowing producers to retain certain rights. For example, in the case of Bone Palace, the production fits a classic finance model, where Netflix covers the necessary costs without external funding. Additionally, de Mardt is exploring the revival of an older brand, collaborating with a free TV channel and a streamer while maximizing tax incentives available outside of Germany.
Calls for Change in the German Funding System
De Mardt is a strong advocate for reforming Germany’s film and TV funding system, calling for global streamers to contribute to local production funds. She believes that this investment strategy, modeled after France’s system, could significantly enhance the German industry’s value by keeping profits within the country rather than allowing them to flow untaxed abroad.
Impact of Political Changes on the Industry
The chaotic political climate under the Trump administration has created uncertainty in international trade, raising questions about its effects on the film and television sectors. While it may be premature to assess the full impact, de Mardt suggests that this moment presents an opportunity for Europe to unite and reaffirm its democratic values and cultural diversity.
European Identity in the Face of U.S. Influence
Despite robust positioning of platforms like Netflix and Amazon due to their local productions, there’s a growing scrutiny about the narratives portrayed in U.S. content. The traditional allure of the American dream is being reconsidered in Europe, offering a chance to reaffirm European identity. De Mardt expresses enthusiasm over projects like In Her Car, highlighting it as a significant pan-European collaboration that reflects shared values through compelling storytelling rather than overt moralizing.