malo o tv stanju. nisam dugo. bas cu otici naci stare postove kada su ovi brojevi poceli izlaziti.
There’s more reason than usual this year to believe John Landgraf’s semi-annual declaration that the peak TV era is winding down.
During a Television Critics Assn. press call last week, the FX chief predicted (like clockwork) that 2022 will be the “high-water mark” for the number of original scripted series on TV and streaming. “In other words, that it will mark the peak of the peak TV era,” Landgraf said. “It will take a year and a half to find out if I’m right this time or we’ll have to eat crow yet again.”
Unlike in years past, however, there is now plenty of evidence to back up his claim. Per FX Research, 357 scripted series launched in the first half of the year, up 16 percent from the same time in 2021. However, with a recession seemingly looming and media stocks taking a beating, there’s a notable shift underway in the entertainment business, and a sense that the free-spending days of the past few years have ended, which could lead to a contraction in the number of shows on the air.
Original Series Released by Top Streamers
Exhibit A: Warner Bros. Discovery, where CEO David Zaslav is hacking away at the forest of content and vowing to cut costs. Under Zaslav, WBD has already axed TBS and TNT’s scripted content, canceled a handful of beloved shows (“Full Frontal,” “Raised by Wolves”), gutted kids and family programming on HBO Max and even torched an entire streaming service in CNN+.
Exhibit B: Former big spender Netflix is aiming to limit the growth of its expenses after its massive stock slide. Going forward, the streamer will remain in the “ZIP code” of $17 billion in content spend, as CFO Spencer Neumann put it on the streamer’s Q2 earnings call.
Meanwhile, the economic climate — rising interest rates, falling market caps, inflation — has driven up production expenses and ushered in a new cost-consciousness across the media industry. Some high-profile projects have recently been canned after being ordered to series (J.J. Abrams’ “Demimonde” at HBO, a “Field of Dreams” series at Peacock). Whatever you call the current era of television — Peak TV, Too Much TV, the Great Content Flood — the business seems to be transitioning away from it.
During his TCA call, Landgraf also noted there weren’t likely to be new players entering the content game anytime soon, given that “all the major streaming services have now launched.”
“In other words, I don’t see new, major purveyors of programming entering the scene as they have been continuously over the past decade or more,” Landgraf said.
Well, hold that thought.
While the volume of content for premium streaming services may indeed be contracting, expansion is still on the horizon for free ad-supported streaming, known as FAST. Google is reportedly on the verge of launching a lineup of free, linear streaming channels, and even WBD’s Zaslav is looking to expand into FAST, despite cutting back in nearly every other area.
“Once our SVOD service is firmly established in the market, we see real potential and are exploring the opportunity for a FAST … offering that would give consumers who do not want to pay a subscription fee access to great library content,” Zaslav said on WBD’s Q2 earnings call.
Library content may not be all it offers, however. As VIP+ previously reported, FAST services Tubi and Crackle have each committed to releasing over 100 original titles on their respective services in the next year, a significant strategy shift for these platforms.
With competition continuing to ramp up in the FAST space, original programming is poised to become a new key tactic for attracting viewers, especially if it proves successful for services like Tubi. Original content has not previously been a major component of FAST programming, giving this space substantial growth potential (like FAST itself).
Going forward, studios are expected to spend more judiciously and on different types of content, such as unscripted and sports, with expenses increasing at a slower rate. FAST content is likely to be a significant part of this new picture, with smaller budgets than premium streaming series but plenty of programming time to fill.
If that’s the case, peak TV probably hasn’t peaked just yet, at least in terms of the number of shows being produced. But the TV landscape will still look very different going forward, with fewer big-budget titles, more free programming and different levels of content across different tiers of advertising and pricing. In other words, the broadcast/basic cable/premium cable model is headed to streaming, as the industry winds its way toward a new version of the past. In those terms, maybe TV really has peaked after all.
https://variety.com/vip/the-end-of-peak ... 235336480/
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