David W. Zucker and Steve Stark to Produce New Italian Global Series

The television industry is undergoing a fundamental structural shift as streamers move toward traditional advertising and distribution models, according to industry veterans David W. Zucker of Scott Free and Steve Stark of Toluca Pictures. Speaking at the Italian Global Series, the producers warned that the rise of global streaming platforms has fundamentally altered the relationship between content creators and viewers, moving from long-term character development to short-term retention strategies driven by Wall Street interests.

Why is the television industry in crisis?

The current state of crisis stems from a radical departure from traditional broadcast goals, according to David W. Zucker. Where television historically aimed to build long-term relationships with audiences through consistent character-driven storytelling, the modern streaming era—led by platforms like Netflix—prioritizes constant churn to justify monthly subscription fees. Zucker notes that this approach creates “shorter attention spans” and forces the industry to focus on immediate engagement rather than the long-term creative depth that defined previous decades of television.

How are streaming platforms changing the business model?

The industry is ironically returning to the very models that streamers originally disrupted, according to Zucker. Despite disrupting the traditional broadcast landscape, major streamers are now integrating advertising and distribution strategies that mirror the pre-streaming era. “They are now getting back into the advertising business,” Zucker stated. He argues that this results in a net negative for consumers, who now pay recurring monthly fees for services that mimic the once-free broadcast model, all while the industry is increasingly controlled by entities focused on selling products rather than prioritizing artistic output.

Is data-driven decision-making hurting creativity?

While data provides useful information, an over-reliance on it can paralyze the development process, says Steve Stark. As chairman and executive producer of Toluca Pictures, Stark noted that the most successful, original shows often lack historical data to support their success, making them difficult to greenlight in a risk-averse environment. “I don’t think [the data] lies, but I think it’s misused sometimes,” Stark explained. The reliance on algorithmic metrics often ignores the “gut feeling” of producers and commissioners that has historically led to breakout hits.

Pro Tip: The Shift Toward Local Partnerships

For American producers looking to expand globally, partnering with local entities is no longer optional—it is a strategic requirement. Steve Stark pointed out that networks like the BBC prioritize content from U.K. producers. Consequently, U.S.-based teams must secure local partnerships to gain traction in those markets, a strategy Stark employed for his upcoming Netflix project, The Bombing of Pan Am Flight 103.

What is the future of global content consumption?

The global reach of streaming has fostered a dialogue between disparate cultures, creating a more interconnected viewing experience. Zucker highlighted that the ability to import high-quality stories from Africa, Asia, and South America has improved overall viewing opportunities. However, he cautioned that this trend has a cynical side: the potential for major streamers to exploit local artists to secure cheaper content compared to domestic American production costs. Despite these risks, the current era has allowed audiences to experience more cultural commonality than ever before.

Frequently Asked Questions

• Why are legacy studios merging? According to David W. Zucker, the current wave of studio mergers is driven by the interests of the industry’s oligarchy, representing a fundamental change in power dynamics that prioritizes scale over the traditional studio system.
• Are streaming services becoming like traditional TV? Yes. According to Zucker, streamers are increasingly adopting advertising and distribution models that resemble the television industry that existed before their rise.
• Does data help or hinder TV production? Steve Stark argues that while data is useful, it can “freeze” decision-makers. Original and unique shows often lack the historical data required to prove their potential success to cautious executives.

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