I know of at least one other international co-production that Netflix investigated picking up following the loss of a U.S. But as Netflix’s footprint grows, its original programming is now spread throughout its wider network, with internationally-aimed co-productions like Marco Polo and Sense8 explicitly designed to move across territories and build global value for the Netflix brand and build subscriber bases worldwide.īut what this means is that it does not make broader financial sense for Netflix to invest in a show that they can only air in the United States. When House of Cards and Orange is the New Black first launched, they were in some cases sold into international markets by their respective producers (MRC, Lionsgate) and aired on local channels like any other imports.
#Hulu hannibal season 1 series#
Unlike some of the other streaming services, Netflix understands itself as an increasingly global brand, with its original series launching across its expanding number of countries supported by the platform. Specifically, I want to start by focusing on why the show’s value to Netflix is limited. This does not mean that new international deals cannot be reached, but it means that existing deals may need to be restructured even if they find a new U.S.
#Hulu hannibal season 1 tv#
partner first, before then shopping international rights at MIPCOM (an international TV trade show), meaning that international stations/channels were buying a show they knew had the profile/reach/scale of a U.S. This reflects the order in which the series was sold: Gaumont secured a U.S. Even some of our international partners, because there’s no NBC component, will pass on a fourth season.” “Without an NBC component, it’s a little complicated. * Bryan Fuller has confirmed this is likely the case in Variety. distributor to move forward? All of this is unclear, but I want to break down a few options as best I can.
#Hulu hannibal season 1 license#
One of the challenges of this or any co-production situation is that we don’t know precisely how the economics are broken down-we know Gaumont cut their license fee from $750,000 to $185,000 between seasons one and three, but was the extra money made up through streaming deals and international sales, or did Gaumont choose to shoulder more of the financial burden in the interest of maintaining the NBC partnership? Are any of the international deals predicated on the show being a broadcast rather than streaming property in the United States?* Is there a specific license fee number that Gaumont needs from a U.S. Note that the following remains highly speculative. And so the below is an effort to handicap how this reality shifts the logic by which different parties would be interested in the series. They are not asking someone to “save” a show from outright cancellation-they are asking a streaming service or cable channel to step in as a licensee (and potentially production partner) as part of a pre-existing cocktail of financial interests, which shifts the show’s value in significant ways. distributor is very different from finding the show a new home more broadly.
But it’s something fans should know as they make efforts to save the series, because finding a U.S. This type of inside knowledge regarding the show’s production is, admittedly, not going to be something your average fan knows.
And so what’s really happening here is that Gaumont and its other producing partners-including Sony Pictures Television, who distributes the series and co-produces through its AXN international cable network-are losing their U.S.
They are, in this case, one licensee of an international co-production, who Entertainment Weekly has revealed is paying only $185,000-this is absurdly low for a broadcast series, even in summer-in order to air season three of the show produced by Gaumont International Television. But while the rhetoric of cancellation was perhaps logically used to describe this decision, the simple fact is that NBC does not have the authority to cancel Hannibal. NBC did in fact announce that Season 3 would be the end of the show’s run on the network, following a slide from “problematic” to “abysmal” demographic ratings this summer. Well, okay, that’s maybe a bit confusing.