The world of television drama is a fierce battleground, with broadcasters and streaming platforms vying for audiences and prestige. The game-changer? The rise of streaming giants and their impact on traditional TV.
When Netflix's 'House of Cards' premiered in 2013, it sent shockwaves through the industry. This political drama proved that streaming platforms could produce high-quality, award-winning content, challenging the dominance of traditional broadcasters. It also popularized binge-watching, forever altering the viewing habits of audiences and the expectations of broadcasters.
In today's landscape, with video streaming services accessible to an estimated 74% of Irish households, how does a public service broadcaster like RTÉ maintain its audience and produce compelling original drama?
David Crean, Head of Drama at RTÉ, highlights the difference in approach: "The streamers are focused on subscriptions, while we aim to connect and serve our audiences."
RTÉ's latest offering, the six-part comedy-drama 'These Sacred Vows', is a testament to their strategy. Crean explains, "Our unique selling point is to showcase the best of Irish talent and storytelling."
But here's where it gets controversial... The journey from script to screen is a complex puzzle, and funding is a major piece. While budgets are sensitive, an hour of TV drama typically costs at least €1 million. Long-form series like soaps, with their smaller budgets and stable employment opportunities, remain a cornerstone for broadcasters. However, shorter-form dramas can quickly escalate into multi-million euro productions.
The process from concept to screen usually takes years. It begins with a pitch, followed by securing interest and development funding from a broadcaster or streamer. Streamers, with their deep pockets, can fully finance projects and connect with a global audience. For broadcasters, it's a collaborative effort, involving multiple partners focused on the domestic market.
Dermot Horan, RTÉ's Director of Acquisitions and Co-Productions, explains, "Early support allows us to commission scripts with modest funding."
And this is the part most people miss... Development is just the beginning for broadcasters. It's a complex production jigsaw, relying on industry relationships, funding knowledge, and perfect timing.
The pressure on indigenous TV industries is mounting. Rising production costs, higher pay expectations, and fragmented audiences pose significant challenges. Last year, Peter Kosminsky, director of 'Wolf Hall', revealed the difficulties of securing funding for a second series, highlighting the impact of these pressures.
Rebecca O'Flanagan, Producer and Joint CEO of Treasure Entertainment, emphasizes, "Bringing a project to screen is a collaborative effort, both creatively and financially."
She outlines the funding sources: "The budget includes the broadcaster's investment, the sales agent, tax incentives, and co-funding partners."
Ireland's Section 481 tax credit is a key player in this landscape. In 2025, payments under this scheme reached a record €177 million, a 46% increase from 2024. Both domestic productions and international series like Netflix's 'Wednesday' have benefited from this credit.
Screen Ireland and Coimisiún na Meán's Sound & Vision fund also play vital roles in supporting TV drama. Since 2020, the Sound & Vision fund has invested almost €20 million in TV and film drama projects.
The collaborative nature of modern drama production is evident in the end credits. RTÉ's 'Kin', for example, was backed by a range of partners, including BRON Studios and Nordic Entertainment Group, and later acquired by Netflix.
For Treasure Entertainment, financing is a complex puzzle. 'These Sacred Vows' began with a simple concept - an Irish wedding abroad - and the location became integral to the story. Originally set in Spain, the production moved to Tenerife to take advantage of attractive tax incentives.
O'Flanagan explains, "A streamer will fully finance a project and own it outright, while a broadcaster licenses it, allowing production companies to retain ownership and sell internationally."
Public broadcasters have a unique interest in culturally reflective stories, offering creative freedom and potential for longevity.
Innovation is key for broadcasters. RTÉ will air the first episode of 'These Sacred Vows' on linear TV, followed immediately by the exclusive release of episode two on the RTE Player. This strategy aims to engage audiences and create a buzz.
Talent development is another crucial aspect for broadcasters. Virgin Media's 'Faithless' and TG4's Céim Eile and Tús schemes support emerging talent and encourage Irish-language drama.
RTÉ's Storyland initiative, in partnership with Screen Ireland, has launched the careers of many Irish creatives. Mia Mullarkey, for example, directed a short film for Storyland and later directed episodes of 'Hidden Assets'.
Sustainable public funding is essential, according to Screen Producers Ireland. Anthony Muldoon, Director of Strategic Policy, emphasizes, "TV drama is a cornerstone of European public service media."
For David Crean and Dermot Horan, long-standing industry relationships are key. "The patchwork of alliances and financial strategies are our secret sauce," Crean says.
What do you think? Is the future of TV drama collaboration or competition? Share your thoughts in the comments!
