TV: Industry contexts

 Independent: British viewers can't get enough of foreign-language dramas

Read this Independent feature on foreign-language dramas. If the website is blocked or forcing you to register you can access the text of the article here. It features an in-depth interview with Walter Iuzzolino who curates Channel 4's Walter Presents programming. Answer the questions below:

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

The traditional audience used to be small, niche and arthouse focused. Watching subtitled foreign dramas was once seen as unusual or weird appealing mainly to a limited group of dedicated viewers rather than the mainstream public.

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?

Iuzzolino argues that the key appeal is the quality and popularity of the shows in their home countries, with the storytelling. He emphasises that these are not niche or experimental works, but “monster hits” abroad well-made, mainstream dramas that simply happen to be in another language.

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?

It can increase viewer engagement in an age of distraction. Because viewers must read subtitles, they are forced to focus fully on the screen, which reduces multitasking (like checking social media). This makes the viewing experience more intense and immersive.

4) What are the other audiences pleasures of foreign TV drama suggested by the article?

• Cultural exploration - viewers enjoy experiencing different countries, languages, and lifestyles.
• Freshness of setting - unfamiliar locations make familiar genres feel new again.
• Universal storytelling - themes like love, betrayal, politics, and violence feel globally relatable.
• Box-set bingeing culture -  streaming allows viewers to watch entire series quickly, boosting engagement and buzz.
• Social/media sharing - viewers enjoy discussing shows online and being part of wider cultural conversations. 

Film School Rejects: The foreign TV dramas you're missing out on

Now read this Film School Rejects feature on the foreign TV dramas you're missing out on. This contains some particularly useful background on Deutschland 83's reception internationally. If the website is blocked, you can access the article text here. Answer the following questions:

1) What does the article tell us about Deutschland 83's release schedule?

It had an unusual international release pattern, premiering first in the US on SundanceTV in June 2015 before being broadcast in Germany later, where it underperformed. It then aired in the UK in January 2016 on Channel 4, where it achieved success. 

2) The article contains important statistics on viewing figures in different countries. What were the German viewing figures for the first and last episode? What were Channel's 4's viewing figures for Deutschland 83?

In Germany, began with 3.19 million viewers for its first episode, but this dropped to 1.63 million by the final episode. Whereas, the UK broadcast on Channel 4 peaked at 2.13 million viewers, making it the country’s highest rated foreign language drama at the time. These figures suggest the show was more consistently successful internationally, particularly in the UK, than in its home market.

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October? 

It was Produced and distributed by SundanceTV and FremantleMedia. In October, the companies announced that Deutschland 83 would be renewed for a second series, titled Deutschland 86, with the possibility of further instalments. This decision was influenced by the show’s strong international reception, particularly in the US and UK, despite its weaker performance in Germany.

4) How does Walter Iuzzolino use social media to engage audiences in new international TV dramas? How does he suggest this has changed the reception of foreign productions in the UK?

Iuzzolino uses social media platforms such as Facebook and Twitter to actively engage audiences, sharing curated recommendations like his “Weekend Pick” and interacting directly with viewers. This personalised approach helps guide audiences toward foreign dramas and makes the service feel more accessible and less overwhelming. The article suggests this has helped shift foreign language TV in the UK from an “elite” niche interest into a more mainstream and approachable form of entertainment.

The Guardian: How Britain's TV industry is struggling in the streaming era

Read this Guardian feature on how Britain's TV industry - particularly public service broadcasters - are struggling to keep up with the American streaming giants. Answer the following questions: 

1) What is happening to UK public service broadcasters like the BBC and Channel 4 when it comes to TV drama? 

UK public service broadcasters such as the BBC and Channel 4 are increasingly struggling to compete in high end TV drama production due to the rise of global streaming platforms. The article suggests they are under financial pressure as international companies with far larger budgets dominate the market for premium drama. As a result, PSBs are forced to either co-produce with global partners or focus on cheaper programming, meaning their ability to independently create big-budget, high-quality dramas is becoming more limited.

2) Look at the middle of the article where global budgets are discussed. What was the peak of the global premium TV streaming market and what has it dropped to in recent years? 

High end drama from platforms like Netflix and Amazon was rapidly increasing. However, in recent years this spending has fallen as the market has become saturated and companies have shifted focus from rapid expansion to profitability. This has led to reduced spending on expensive original dramas compared with the earlier boom period.

3) What are the typical production costs per hour of high-end TV production? Why does this create a challenge for Britain's public service broadcasters? 

High-end TV drama typically costs around £1–3 million per hour (and can be even higher for major prestige productions). This creates a major challenge for UK public service broadcasters because their budgets are significantly smaller than global streaming giants. As a result, they struggle to compete for top talent, large-scale production values, and international distribution, making it harder for them to produce globally competitive drama without outside funding.

4) Look at the end of the article. Why is there still an optimism about the British TV industry?

It remains optimistic about the British TV industry because UK broadcasters still have strong creative talent, global reputation, and successful history of producing high-quality drama. It suggests that co productions with international platforms and the global demand for British storytelling help sustain the industry. Additionally, British TV continues to punch above its weight culturally, meaning it still plays a key role in shaping international television even in a more competitive global market.

Media Magazine: Netflix and the Cultural Industries 

Finally, go to our Media Magazine archive and read the article on Netflix and the Cultural Industries (MM63 - page 45). Answer the following questions:

1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?

Hesmondhalgh argues that since the 1980s the creative industries have undergone major structural change, with media production becoming more commercialised, globalised and dominated by large corporations. He suggests cultural industries have moved to the centre of economic activity, with increased corporate ownership across sectors, reduced regulation, and growing reliance on advertising and cross promotion. 

2) What is technological convergence? 

Technological convergence refers to the process by which different forms of media and communication technologies merge into a single digital system

3) How are technology companies challenging traditional broadcasters in the TV industry?

Technology companies such as Netflix, Amazon, Google and Facebook are challenging traditional broadcasters by becoming media producers and distributors themselves.

4) The global nature of modern television means producers are having to consider international audiences when creating content. What example from Netflix does the article use to explain this?

Stranger Things to show how Netflix adapts content for international audiences. For example, the monster “Demogorgon” had to be carefully localised so that the cultural reference to Dungeons & Dragons would make sense in different countries.

Extension tasks

If you're particularly interested in this industry, you may want to read the following articles or take on the following tasks that go into more detail on the TV industry:

Look at this IndieWire feature on the rise of international television. If the website is blocked, you can access the text from the article here. What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

How do changes in technology influence the creation of TV dramas such as Capital or Deutschland 83? Try and make specific references to the two TV CSPs in your answer.

In Deutschland 83, digital platforms and international distribution networks allowed the series to premiere in multiple countries, gaining a global audience through streaming services rather than relying on broadcasting schedules. Similarly, Capital reflects a modern co production model by globalised media industries, where funding, production, and audience reach are no longer limited to one broadcaster or country. Both csps show how technological convergence and streaming platforms allow dramas to reach international audiences instantly, making TV increasingly global, collaborative, and shaped by transnational production strategies rather than purely national television systems.