In a commercial enterprise where conventional media agencies are becoming larger and extra vertically integrated, indie studio Sony Pictures TV has discovered to be scrappy, embracing each new entrant inside the authentic scripted programming area: from simple cable networks FX and AMC to all present day streaming systems and the imminent Apple TV, Charter’s Spectrum as well Jeffrey Katzenberg and Meg Whitman’s Quibi.
In an interview with Deadline, Sony Pictures Television Studios president Jeff Frost and co-presidents Chris Parnell and Jason Clodfelter speak frankly about the risks and rewards of being an early adopter of new platforms and competing with vertically incorporated studios.
They also give a status update at the studio’s efforts to discover a new home for acclaimed comedy collection One Day at a Time, which turned into canceled by way of Netflix after three seasons. As we found out, CBS All Access made an offer for a fourth season however Netflix’s deal does now not allow for the show to air on some other digital platform for several years, leaving Sony TV with most effective linear network options as the moratorium there’s just multiple months.
With SVOD offerings ending an increasing number of series after 2-three seasons now, Sony TV is operating on a new version to make streaming series extra rewarding regardless of shorter runs through selling a whole “suite” of associated indicates together, together with the lengthy-rumored Spider-verse and probable a group of reboots of Norman Lear series.
Frost, Parnell and Clodfelter, who were named to the top studio jobs in summer season 2017, additionally compare their first full broadcast development season which produced six pilots and a drama in instantly-to-series consideration at Fox as well as renewal possibilities of Sony’s contemporary series, and deal with the challenges of the printed business amid networks’ drive for ownership and virtual rights. Additionally, they communicate ability cease video games for the studio’s long-walking series, like The Blacklist.
They also talk the cutting-edge palms race for pinnacle TV creative talent and monitor whether or not they may be ready to pend $100 mil+ on an typical deal, and deal with WGA-ATA contemporary standoff.
DEADLINE: What is the popularity of One Day at a Time?
FROST: We are in heavy discussions with some of specific linear networks. It’s extra challenging with a linear platform, specially while you don’t have the virtual rights even in the downstream, because we don’t. Those rights do come again to us in some years, in order that’s all in play. I experience reasonably confident that we are able to locate any other domestic for it. There are some very interested customers; the one you wrote approximately (CBS All Access) was extraordinarily involved and now can’t continue due to the fact there may be the restrict that asserts the show can’t go to any other virtual participant. But there are a few different buyers who are very interested.
CLODFELTER: Broadcast has voiced quite a few interest, we’ve talked to all four broadcast networks. However, they’re centered on their pilots right now; we want to wait and see wherein those pilots land.
DEADLINE: Are you able to wait?
FROST: Given our actor alternatives, we’re able to do this, yes. We have them via October.
CLODFELTER: I assume the amazing aspect approximately the display is you don’t need to have visible the previous seasons. The family, the chemistry among them all speaks for itself, so you can slightly pivot for any respective customer, and it’s the proper group in area on each degree.
PARNELL: And the only issue we’re experiencing with these kinds of networks is, there’s excellent passion for this content. They like it. It became 100 percent on Rotten Tomatoes the ultimate two seasons, all of them recognise that, and loads of the networks we’re speakme to see a tremendous opportunity right here. The audience built from season two to season three, it nearly doubled from season two to season 3 primarily based upon the information that we’ve, and so networks are very enthusiastic about that opportunity.
DEADLINE: Within the beyond month, it became introduced that of Sony TV’s streaming series, One Day at a Time at Netflix and Future Man at Hulu, will end after 3 seasons. As runs on SVOD systems are getting shorter, has that been difficult for you enterprise-sensible?
FROST: I suppose it has shifted our method. Something that we’re simply exploring whilst we sell to a virtual platform is promoting a “suite” of collection, that means associated collection, so each series will pass 3 seasons, however it’s related and might tip off to the next collection, so at the least you’ve got long-time period capability and lengthy-term economic exploitation.
CLODFELTER: In a few ways it virtually is creatively releasing, because you’re capable of study specific characters or trips or testimonies, and no longer have the onus of looking to get five, six, seven seasons out. You can absolutely attention.
PARNELL: I assume having a clear feel of what the streaming structures sincerely can pull off is creatively releasing, due to the fact now we understand, strolling in the door, typically, how to tell a whole tale, and if this unique show feels adore it goes six seasons, nicely then, we make a selection at the places that we pitch to. Here’s wherein it can move six seasons, right here’s where it in all likelihood can’t. I think that as long as the creatives are conscious in advance and we’re aware in advance then we can make a miles extra informed decision on in which we vicinity suggests.
CLODFELTER: That’s the beauty of being unbiased. We promote to 30-some-extraordinary one of a kind home buyers. That doesn’t even include unique global partnerships we have or exclusive strategies for ‘paths to yes’, we love to mention here, so we’ve got 30 capacity buyers, and so while we are out there we are able to leverage the network to what’s excellent for the display and what’s excellent for the creative.
DEADLINE: Financially, can you’re making it paintings with shorter runs?
FROST: Absolutely. Especially searching at it in phrases of a collection of collection. If we will pass down that road there’s genuinely excellent business, and we’ve already talked to some virtual networks about that.
DEADLINE: I count on that such a suites of series is the Spider-Verse series that were talked about. What is the popularity of that?
FROST: It’s nonetheless in development, but there’s not much extra we are able to say approximately it at this point.
DEADLINE: Are most of the suites of collection you’ve got in the works IP-based?
PARNELL: Absolutely, whether it’s a e book belongings or a comic property. One exciting attitude is taking a take a look at a whole library of content from both an creator or a comic creator and attempt to have a look at the whole breadth of it, and discern out if it’s no longer simply one show however more than one suggests you may promote off of that on the equal time to 1 broadcaster. I assume that’s a certainly interesting layout on how to accomplish it.
FROST: But no longer constrained to IP, they may be unique ideas. Is there an event where you can do more than one versions of that occasion or a couple of sides of the occasion or more than one tales that arose out of the occasion? There’s definitely a commercial enterprise here that we suppose the streamers could be very inquisitive about.
