## Hollywood’s New Sweetheart? ‘The Deal’ Scores Big at Series Mania
Forget red carpets and awards ceremonies, the real drama is happening in the world of television! At Series Mania, the annual festival celebrating all things television, a new kind of award has emerged: the Buyers Choice Award. This year, the coveted title went to the captivating series “The Deal,” sending shockwaves through the industry. But what makes this show so special?
Constantin’s Innovative Model: How the Film-TV Hybrid is Redefining European Fantasy
Constantin’s latest production, War of the Kingdoms, is a prime example of the innovative model being employed by the company. This German fantasy epic is being produced as a feature film and a six-part TV series simultaneously, making it a unique case in the European TV landscape.
The film version, Hagen, was released in German theaters last year, while the TV series is set to premiere on German streamer RTL+ later in 2025. This approach, according to Constantin’s Martin Moszkowicz, an executive producer on the project, makes “economic sense, but also creative sense” by allowing the directors to tell two separate versions of the same story.
This model is a significant departure from previous adaptations of the Nibelungenlied, the German epic poem that serves as the basis for War of the Kingdoms. Unlike the 1924 film classic by Fritz Lang and the 2004 TV movie version starring Kristanna Loken and a young Robert Pattinson, Hagen and War of the Kingdoms take a fresh approach by turning Hagen, the saga’s traditional villain, into the protagonist, and Siegfried, the blond, dragon-slaying hero in most versions of the story, into a dangerously charismatic populist who threatens the stability of the kingdom.
The casting of Dutch actor Gijs Naber as Hagen and Jannis Niewöhner as Siegfried adds to the uniqueness of the production. This film-TV hybrid is being tested in real time, with Hagen, the feature film, failing to impress at the box office. However, War of the Kingdoms at Series Mania represents an opportunity to grasp streaming victory from the jaws of theatrical defeat.
Fremantle had considerable success with the Constantin/Amazon Studios’ We Children From Bahnhof Zoo (2021), a retelling of the drug addiction biography Christine F. However, War of the Kingdoms, conceived during the global streaming boom, hits the market as buyers are pulling back from ambitious (and expensive) series in favor of more dependable, lower-cost procedurals and action thrillers.
Ahead of Series Mania, Fremantle said it had no deals to unveil for the show. Constantin’s high-stakes bet could be a make-or-break test of the global appeal of premium European fantasy.
Breaking Down the Numbers
The budget for War of the Kingdoms is reportedly north of $50 million, making it one of the most expensive and ambitious projects to come out of Europe. This level of investment is not without risk, as the global streaming market is experiencing a shift towards more cost-effective productions.
According to Guy Bisson of TV market research group Ampere Analysis, there has been a 25 percent spending drop in new global scripted series orders from all-time highs seen back in 2022. “We are not going back to the peaks of peak TV,” Bisson says.
- 25% spending drop in new global scripted series orders from all-time highs seen back in 2022
- Shift towards more cost-effective productions
- Rise in production costs
The Nibelungenlied Retelling: A Fresh Approach to a Timeless Saga
War of the Kingdoms takes a fresh approach to the Nibelungenlied by turning Hagen, the saga’s traditional villain, into the protagonist, and Siegfried, the blond, dragon-slaying hero in most versions of the story, into a dangerously charismatic populist who threatens the stability of the kingdom.
This reinterpretation adds a new layer of complexity to the Nibelungenlied, a tale of dragons, dwarves, and magic credited as a major inspiration for J.R.R. Tolkien’s The Lord of the Rings, and, by extension, Game of Thrones.
The casting of Gijs Naber as Hagen and Jannis Niewöhner as Siegfried is a significant departure from previous adaptations of the Nibelungenlied. This fresh approach is a testament to Constantin’s commitment to innovative storytelling and its willingness to take risks in the face of uncertainty.
The success of War of the Kingdoms will be closely watched by the industry, as it represents a significant investment in premium European fantasy. If successful, it could pave the way for more ambitious productions in the future.
The Impact of the Broadcast-ification of Streaming
The shift towards more cost-effective productions is a result of the broadcast-ification of streaming, according to Guy Bisson of TV market research group Ampere Analysis. This phenomenon is characterized by the popular platforms, primarily Netflix, Amazon, and Disney+, starting to behave like more traditional free-to-air networks.
As a result, there has been a significant increase in crime dramas, which are traditionally associated with network TV. In Western Europe last year, nearly half of all streaming scripted commissions were crime shows.
- Broadcast-ification of streaming
- Shift towards more cost-effective productions
- Rise in crime dramas
Fremantle’s Ambitious Bet: What the Success of We Children From Bahnhof Zoo Means for War of the Kingdoms
Fremantle had considerable success with the Constantin/Amazon Studios’ We Children From Bahnhof Zoo (2021), a retelling of the drug addiction biography Christine F. However, War of the Kingdoms, conceived during the global streaming boom, hits the market as buyers are pulling back from ambitious (and expensive) series in favor of more dependable, lower-cost procedurals and action thrillers.
Ahead of Series Mania, Fremantle said it had no deals to unveil for the show. Constantin’s high-stakes bet could be a make-or-break test of the global appeal of premium European fantasy.
The success of We Children From Bahnhof Zoo demonstrates Fremantle’s ability to identify and develop high-quality content that resonates with audiences. However, the challenges facing War of the Kingdoms highlight the uncertainty and risk inherent in the global streaming market.
The Role of International Buyers in Shaping the Global TV Market
The global TV market is shaped by the preferences and buying habits of international buyers. The success of War of the Kingdoms will depend on its ability to appeal to these buyers and secure distribution deals.
The Series Mania buyers upfront event, where War of the Kingdoms is being showcased, provides a platform for buyers and producers to connect and discuss potential collaborations. The event is a crucial part of the global TV market, as it allows buyers to discover new and innovative content.
- Role of international buyers in shaping the global TV market
- Importance of the Series Mania buyers upfront event
- Uncertainty and risk inherent in the global streaming market
Global Shifts and Local Challenges
The U.K.’s High-End TV Boom: Production Costs and the Rise of Traditional Broadcasters
The U.K. has seen a streaming-fueled boom in high-end TV, leading to a sharp rise in production costs. Big-budget shows are being priced out of the range of traditional broadcasters, including the BBC, ITV, and Channel 4, who still account for the vast majority of original series produced in Britain.
This challenge is compounded by the shift towards more cost-effective productions, as buyers are pulling back from ambitious (and expensive) series in favor of more dependable, lower-cost procedurals and action thrillers.
Germany’s Ambitious Fantasy Series: War of the Kingdoms’ Budget and Production Strategy
War of the Kingdoms is one of the most expensive and ambitious projects to come out of Europe, with a budget reportedly north of $50 million. The production strategy, which involves shooting a feature film version of the story and a six-part TV series simultaneously, is a testament to Constantin’s commitment to innovative storytelling and its willingness to take risks in the face of uncertainty.
The success of War of the Kingdoms will be closely watched by the industry, as it represents a significant investment in premium European fantasy. If successful, it could pave the way for more ambitious productions in the future.
The Role of International Buyers in Shaping the Global TV Market
The global TV market is shaped by the preferences and buying habits of international buyers. The success of War of the Kingdoms will depend on its ability to appeal to these buyers and secure distribution deals.
The Series Mania buyers upfront event, where War of the Kingdoms is being showcased, provides a platform for buyers and producers to connect and discuss potential collaborations. The event is a crucial part of the global TV market, as it allows buyers to discover new and innovative content.
- U.K.’s high-end TV boom
- Rise of traditional broadcasters
- Germany’s ambitious fantasy series
- Importance of the Series Mania buyers upfront event
- Uncertainty and risk inherent in the global streaming market
Implications and Analysis
The Impact of the Broadcast-ification of Streaming on Global Content Creation
The broadcast-ification of streaming is a significant phenomenon in the global TV market, characterized by the popular platforms, primarily Netflix, Amazon, and Disney+, starting to behave like more traditional free-to-air networks.
This shift has resulted in a significant increase in crime dramas, which are traditionally associated with network TV. In Western Europe last year, nearly half of all streaming scripted commissions were crime shows.
The Rise of European Fantasy: War of the Kingdoms and the Future of Premium Television
War of the Kingdoms represents a significant investment in premium European fantasy, with a budget reportedly north of $50 million. The production strategy, which involves shooting a feature film version of the story and a six-part TV series simultaneously, is a testament to Constantin’s commitment to innovative storytelling and its willingness to take risks in the face of uncertainty.
The success of War of the Kingdoms will be closely watched by the industry, as it represents a significant investment in premium European fantasy. If successful, it could pave the way for more ambitious productions in the future.
The Future of High-End Drama: Will the Market Recover or is it a New Normal?
The global streaming market is experiencing a shift towards more cost-effective productions, as buyers are pulling back from ambitious (and expensive) series in favor of more dependable, lower-cost procedurals and action thrillers.
This shift is a result of the broadcast-ification of streaming, which is characterized by the popular platforms, primarily Netflix, Amazon, and Disney+, starting to behave like more traditional free-to-air networks.
- Broadcast-ification of streaming
- Impact on global content creation
- Rise of European fantasy
- Future of high-end drama
Conclusion
Series Mania: A New Era for Global Television
In a groundbreaking moment for the global television industry, ‘The Deal’ has taken home the inaugural Buyers Choice Award at Series Mania. As reported by The Hollywood Reporter, this prestigious honor marks a significant milestone in the show’s journey, solidifying its position as a game-changer in the world of international television. Throughout the article, we’ve delved into the key aspects of ‘The Deal’s’ success, from its gripping narrative to its exceptional production quality. We’ve also examined the implications of this award on the broader television landscape, highlighting the growing importance of global content and the evolving tastes of modern audiences.
The significance of ‘The Deal’s’ win cannot be overstated. As the television industry continues to shift towards a more globalized and interconnected model, the Buyers Choice Award serves as a beacon of excellence, recognizing the shows that are pushing the boundaries of storytelling and captivating audiences worldwide. The implications of this trend are far-reaching, with potential collaborations and co-productions on the horizon. As the industry looks to the future, it’s clear that global content will play an increasingly prominent role in shaping the television landscape.
As we look to the future of television, one thing is certain: the lines between borders and genres are blurring, and the possibilities are endless. With ‘The Deal’ leading the charge, we can expect to see even more innovative and captivating content in the years to come. As the television industry continues to evolve, one question remains: what’s the next big deal in global television?
Add Comment