Streamers making ‘careful’ moves in Europe as ‘mainstream’ shows catch interest

The Seed (©Odeon Fiction/ARD Degeto/Thomas Frank)

Streamers in Europe are seeking more “mainstream” content than their broadcaster counterparts, producers have said here at the Monte-Carlo TV Festival.

With streamers changing their strategies and co-producing more content in Europe, a session at the Monaco-based event this week explored the new challenges and opportunities arising.

“In Germany, it’s funny that when the streamers entered the market, they stood for daring, new, innovative content. Now, the streamers are becoming very mainstream and are looking for very broad content,” said Britta Meyermann, head of international co-production at The Seed prodco Odeon Fiction.

“Meanwhile, the public broadcasters are now getting more into niche [programming], especially through their online services,” added Meyermann.

“There is the same tendency [in Denmark]”, added Dorthe Riis Lauridsen, creative producer at Blackwater firm Apple Tree Production. “The streaming services are a bit more careful.”

Camilla Rydbacken, SVP of scripted content of Nordic-based Viaplay Group, offered a countering view from a streamer perspective.

“We’ve been very daring and willing to try new things and new creators, [as well as] young creators and supporting female first-time creators – that’s been our thing.

“And that we will continue to do, but I don’t think it’s strange that in more difficult times all broadcasters try to go for more secure content.”

Also joining the panel was Lisa Kramer, president of international TV licensing at Paramount Global Content Distribution, who highlighted the example of Paramount+ drama Yellowstone as a show that did not immediately appear to have broad appeal, but grew into an international hit.

‘[Yellowstone] is Americana, Americana, Americana, so when it was first turned over to the international sales team, we did everything that we could to lean into its strengths… and the results were what you would expect.”

Buyers would say “I’m not sure it is for my country” but Kramer noted: “It was well received, but it was not the juggernaut. It took a couple of years.

“Fundamentally, [Yellowstone] is a soap opera, it touches everybody. Everybody loves those broad characters and that story. So even if water rights in Colorado are not your thing, the human emotion between those characters can really travel.”