SUPER INDIES PRODUCTION 100


SURVEY


Love’s The Great British Sewing Bee


Objective’s Feel Good


well as Penguins and Elephant for Disney+. Both Sex Education and Our Planet are top 10 global shows for Netflix. Most of the big superindie


THOSE COMPANIES WITH COMMISSIONS FROM THE STREAMING PLATFORMS ARE IN HIGH DEMAND FROM BUYERS


groups and new consolidators remain acquisitive, adds Manwaring. “They want to grow their businesses and want to make sure they have proper relationships with the streaming platforms.”


DIVERSIFIED BASE Superindie groups which might have been reliant on traditional broadcasters in the past recognise that they need to diversify their portfolio of production companies so they are capturing a share of the growing streamer market. In All3Media’s case, for


example, the acquisition of Silverback gave it immediate access to a small, but elite pool of blue-chip natural history programme makers. “It’s the right time — there is


an enormous appetite for very high-quality natural history and there are very few people who can produce it,” said All3Media CEO Jane Turton shortly after announcing the deal. “There is a huge scarcity factor.” For successful indies, selling


to a superindie group or studio is attractive beyond the financial


Autumn 2021 P42 televisual.com


rewards and sense of security too. For example, Eleven Film may


have strong relationships with Netflix, but being part of Sony Pictures Television broadens its streamer links. Sony also owns Left Bank, which produces The Crown: if any organisation understands how to negotiate the best deal terms with Netflix, it is likely to be Sony. The studio also has deep relationships with the likes of Disney+, Peacock, Apple TV+ and Amazon which a UK firm like Eleven can tap into.


RIGHTS ISSUE For superindies, one of the big attractions of buying into the UK production market has been that producers are able to hold on the rights of the programmes they make for PSB broadcasters such as the BBC, ITV, Channel 4 and Channel 5. But, as the streamers have gained an increasing foothold in the UK market, they have brought with them their way of doing business – paying premium to buy out all rights for shows. This fact doesn’t seem to have


made UK producers less attractive to superindies, who traditionally have exploited the programme rights of their owned-producers through their own distribution operations.


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