London TV Screenings Insights: Prentiss Fraser, president of TV distribution, Fifth Season

Monsieur Spade (Source: Fifth Season)

As buyers flock to the UK for London TV Screenings and BBC Studios Showcase this week, TBI talks to the bosses of more than 25 distribution companies to test the temperature of the global content industry and to find out how the next 12 months are shaping up.

Here, Prentiss Fraser, president of TV distribution at Fifth Season, talks brand awareness, second window linear rights and changing streaming strategies.

What three words would you use to describe the state of the TV/streaming industry as a whole right now?

Challenging, evolving, exciting.

What three words would you use to describe the state of the distribution sector right now?

Strategic, possibilities, dynamic.

Prentiss Fraser (Source: Fifth Season)

With fewer shows being commissioned, how are you securing your pipeline?

Our long-standing relationships with top-tier creatives and producers – many of whom are seeing renewals coming through – are integral to our pipeline, and we have a series of strategic investments and deep-rooted partnerships with creators from Australia to Scandinavia. We also have a steady supply from our US and UK studio ecosystem, again including new seasons of hit shows like Nine Perfect Strangers, Life And Beth and Wolf Like Me. Our documentary and non-scripted division – which is behind Emmy-nominees McCartney 3,2,1, Being Mary Tyler Moore, Wu-Tang Clan: Of Mics And Men and more – is also an expanding source of fresh content.

What is the single biggest difference in the discussions you’re having with buyers today compared with 12 months ago?

In general, a lot of companies are having conversations they are not used to having around single title acquisitions – but this has always been something we’ve specialised in doing. We’re also seeing an increased focus from buyers on known IP and titles that have previously aired, so come with existing brand awareness built in.

How do you expect global streamer demands for rights to change in 2024 compared with 2023?

Global streamers are looking for bigger titles that will cut through and they are also becoming more laser focused, particularly when it comes to sourcing shoulder programming to support their original commissions. They have increasingly specific ideas in mind for what they want to acquire and bring to their audiences, which is very helpful for the sales process.

Where does opportunity lie for you in 2024?

In this shifting landscape, linear platforms are really holding their own and second window linear rights of streaming content will bring many opportunities for us this year – particularly with our top-tier, talent-driven shows such as Wolf Like Me, Nine Perfect Strangers and Life And Beth, among others.

Tell us in no more than two sentences about the biggest problem facing the distribution industry and what needs to change so it can be overcome.

Studios filling the market with programming that hasn’t been available for the last few years. This poses a real problem for distributors that are selling at volume, but we’re optimistic our strategy of thoughtfully curating a slate of best-in-category content will future-proof us against this.

Tell us about your top show at London Screenings & why we should buy it

We’ve just taken on global rights to Monsieur Spade – the AMC series starring and executive produced by the legendary Clive Owen. It’s a fresh take on the eminent, hard-boiled detective from The Maltese Falcon fame, with gorgeous cinematography, compelling plotlines and sharply written dialogue. It already has anchor broadcasters in place in the US (AMC) and France (Canal+) and is ideally suited to follow in the footsteps of our success with Agatha Christie titles – which continue to be strong ratings drivers for buyers.