Amid turbulent times for global streaming services who continue to course correct after years of pursuing subscriber growth at all costs, TV writers and producers in Eastern Europe are pondering th…
. “It’s not a bad thing, but it is a challenge. There’s been a glut. The Golden Age of TV is now coming to a close. It’s not a bad thing; it just means a reallocation of money.”
“We are looking at a time when money is shorter for the big streamers,” said Johnathan Young, the former VP of original programming and commissioning editor for Central and Eastern Europe at HBO Max. “On the other hand…there’s no question that people need local content. The challenge is how to make local content that travels but retains its authenticity.”
The booming Polish market is perhaps the most encouraging sign for an Eastern European industry looking to join the global TV conversation. Netflix, which opened its Central and Eastern Europe headquarters in Warsaw last year, has produced 40 original local Polish films and series to date, leading a crowded market that includes Canal Plus, SkyShowtime, NENT Group’s Viaplay, TVN Discovery-owned Player and Disney Plus, which also launched a Warsaw office last year.
At an award ceremony Friday night for the Transilvania Pitch Stop co-production forum, the prize for the best Drama Room project went to “The Kids Are Alright,” a coming-of-age series from Bucharest-based scriptwriter and director Serghei Chiviriga. It tells the story of a reckless foreign student who’s sent home from boarding school, forcing his roommates down a dangerous path when they have to decide what to do with his hidden stash of weed and who to trust.
Bărbulescu and Marin: “The main drive for us in developing ‘Alibi’ is a desire to look deeper into the duality of right and wrong, analyzing both sides of the same coin and questioning human limits.
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