Collaboration is the motto.
In the streaming era, every tech or media company wants to flex its muscles. Most organizations built their own platforms and published all the content that they created and produced in their own environment. Massive amounts of "marketing money" were invested. Streamers and broadcasters poured a lot of money into their own vertical column, all to entice as many consumers as possible to become a subscriber. Of course, this couldn't continue to sustain itself indefinitely: the tide was bound to turn. The result was a content surplus, or perhaps even “content spillage”. Many programs were not what consumers wanted and the financial potential of the successful programs was underexploited.
Change was in the air and has indeed arrived. Collaboration is the new mantra in the international audiovisual content sector. Broadcasters had already started moving in that direction through co-production initiatives, but in recent years only lip service was given to it. In Cannes, where MIPCOM once again proved to be a dynamic international meeting place for media executives, the need for collaboration was palpable this year. This means not only jointly financing productions but also actively collaborating on the creative front. Co-creation and co-development are becoming increasingly common.
This leads to unexpected combinations. BBC Studios collaborates creatively with Japan's Nippon TV and eight European public broadcasters (including the Netherlands) signed a grandly announced partnership agreement in the domain of scripted programming under the title "New8." The studio model is becoming increasingly popular. Maarten Meijs unveiled the strategy of the renewed Talpa Studios, where collaboration with colleagues is at the center. Even a well-funded company like ZDF Studios Is wholeheartedly pursuing co-production initiatives. Collaboration is the motto.
Even major streaming platforms with their roots in media, which have their own production activities in their portfolios, are eager to sell their content to competitors again. After all, in this period of sharply declining advertising markets and decreasing consumer spending, everything revolves around monetizing, i.e., capitalizing on content. Disney has been actively pursuing this after Bob Iger's return, but also other major media companies like WBD (the combination of Warner Bros. and Discovery) are following suit. Good content is once again available on multiple platforms, offering consumers even more choice. Gerhard Zeiler, the international head of WBD, even went to the extent of naming the consumer "our North Star." Media companies are becoming less B2B and more B2C.
Another excellent example of co-creation comes from the Netherlands. IDTV and RTL joined forces in developing the fantastic format "The Traitors" which is causing a stir almost everywhere. Producer and broadcaster collaborate, co-develop a fantastic format, and also work together in marketing the format. It's an exemplary case of how intensive collaboration can lead to great success. Hopefully, we'll see more of this and the Netherlands will establish itself in the media world once again through successful cooperation.
In the 1960s, the United States fell behind in the space race with the Soviet Union. Yuri Gagarin was the first human to break through the Earth's atmosphere, a monumental achievement. Unable to accept this, the United States - through President John F. Kennedy - established the goal of landing the first person on the moon within a timespan of 10 years. The rest is history and the wording of such a distant, grand objective became known as the 'moonshot goal.'
Stating such a goal is even more important when things are a bit difficult. That was the case with Kennedy's example and is the case for many public broadcasters in Europe. The sentiment in politics is generally unfavorable, budget cuts are commonplace, and digital competition is capturing viewership share. Young people are increasingly unable to find public broadcasters, and consequently a significant strategic crisis has emerged. This is the situation in Scandinavia, Germany, the United Kingdom, and in our own country. Let alone the situation in Poland and Spain.
So, there is a crisis in public broadcasting in Europe, precisely at a time when polarization is increasing, and misinformation is rampant. Especially during such times, it is crucial to prioritize neutral reporting and foster a sense of community. Excellent leadership is invaluable in such circumstances. And it's not the first time that the BBC has set an example during such times. Tim Davie, the excellent Director-General of the BBC, spoke at a Royal Television Society event last month. His argument centered around the fact that the future of the United Kingdom is at risk in democratic, social and cultural terms. He saw three roles for the BBC in countering this threat. Pursuing truth with no agenda by reporting fearlessly and fairly. Backing the best British storytelling by investing in homegrown talent and creativity. Lastly, bringing people together by connecting everyone to unmissable content.
That's what you call a moonshot goal! Because what follows from this? The BBC must serve its 'customers' from every platform, at all times. BBC Three will be closed as young people will find BBC content online, via iPlayer. New services are being developed, such as BBC Verify: the future major fact-checker. Interventions will be made in the BBC organization to make all this possible. And finally, the BBC will also explore whether a new, better funding system than the archaic licensing fee can be developed.
Isn't it wonderful? In the United Kingdom, significant changes are being developed from a strategic perspective. In the Netherlands, we only see politically motivated cost-cutting measures within the public broadcaster, neglecting the pursuit of deliberate strategic advancement in the media sector. I rest my case...
Na een loopbaan bij de commerciële (SBS) en publieke (KRO-NCRV) omroep belandde Rijssemus bij producent IDTV, onderdeel van het Britse All3Media dat hem uiteindelijk richting Berlijn dirigeerde om ook de Duitse markt te veroveren. "Dat had ik niet verwacht, moet ik zeggen", aldus Rijssemus lachend. "Ik dacht: ze vragen me voor Amerika, of een bedrijf ergens in de UK misschien."
Wat trof Rijssemus aan en is Duitsland nog steeds 'de heilige graal'? "Je moet de balans vinden: hoeveel energie geeft en kost een baan je?"
Hoe kwam deze student fiscaal recht en economie uiteindelijk in de mediawereld terecht en waarom wilde hij namens RTL zo graag Videoland overnemen? “We hebben daar veel van geleerd en ook heel veel fouten gemaakt, met name een deel infrastructuur totaal nieuw moeten bouwen”, blikt Habets terug. “Toen we 40.000 abonnees hadden, bleek het platform niet meer aan te kunnen…”
Inmiddels opereert hij vanuit München op de Duitse markt en past ook daar zijn ervaring toe met “het omkatten van een televisie- naar een streaming first-bedrijf.” Habets romantiseert zijn internationale carrière niet: “Je moet eerlijk zijn naar jezelf en het doen om de juiste redenen, anders wordt het gewoon een baan.”