How European Streamers Are Investing in Series Mania: An In-Depth Look
Series Mania: A Reflection on Streaming Trends and European Content Strategies
This year’s Series Mania in Lille was marked by a notable emphasis on financial commitments from prominent streaming platforms. The event, while less bustling than previous years, still attracted significant investments from Disney+, HBO Max, and Prime Video.
Under the leadership of Nicole Clemens, who now oversees international originals, Prime Video has boldly declared its intent to increase its series output. "More series, more series, more series," Clemens stated, signaling a clear commitment to expanding the platform’s budget for original content.
HBO Max also made headlines as it launched in the UK, coinciding with the release of a trailer for the highly anticipated Harry Potter series. Executives Casey Bloys and Sarah Aubrey were present at Series Mania, actively promoting upcoming content and sharing news of various talent agreements.
The enduring question remains: will this year’s bold declarations translate into tangible results for European producers? Many hope for a shift from the era of stringent co-production models towards a system that more readily supports new commissions.
Reflecting on the previous Series Mania in 2022, HBO demonstrated a similar enthusiasm for investment, only to later reduce its workforce in Europe. Despite this, the recent momentum suggests that HBO Max is here to stay internationally, and a repeat of past mistakes would be surprising.
Interestingly, Netflix had a subdued presence at this year’s event, with limited panels and fewer executives participating. This could indicate that the platform feels less pressured in the European content landscape, especially in light of competitive dynamics.
New Alliances on the Horizon
Producers looked to capitalize on what they hope to be a new wave of funding from streaming services. Yet, Series Mania also served as a reminder that most European commissions still originate from public service broadcasters and traditional commercial networks. The long-term effects of newly implemented streaming content quotas will remain to be seen.
Executives from major European broadcasters were prominently visible, although their British counterparts were less represented. A concerning report from the Federation of Screenwriters in Europe warned of growing difficulties accessing government funding and instances of self-censorship among creatives wary of offending far-right regimes.
A recently signed landmark co-production treaty aims to establish "a new era for alliances in Europe." Council of Europe Secretary General Alain Berset stressed the importance of storytelling, urging audiences to remember their roots and cultural heritage.
During the early sessions of Series Mania, Berset invigorated attendees by stating, “What Europe would give in moments like this for a storytelling tool as powerful as yours, reminding people who we are, what we built and why it still matters.” The treaty’s provisions are expected to clarify revenue sharing, funding access, and data transparency in co-productions.
Reactions to the treaty were mixed among attendees. Some industry insiders greeted it as a potential game-changer for European culture, while others viewed it as merely formalizing existing practices. A leader from a major European production house remarked that the treaty’s advantages could be enhanced with local streaming content quotas, creating a more comprehensive support system for commissions.
As streaming platforms invest further in local content, there is a growing expectation to see more substantial returns for European creatives and audiences. Netflix, in particular, has faced criticism for being compelled to commit to spending that it often exceeds voluntarily.
Although this year’s Series Mania lacked some of its traditional star power, it continues to provide valuable insights into the current state of the European entertainment industry. Concluding his address, Berset remarked, “The world outside is not waiting for culture to catch up; it is already here in this room,” a sentiment that encapsulates the momentous changes underway in European storytelling.
Jesse Whittock contributed reporting.
