Campaign Profile

Jon Rutherford, president of global rights, franchise and content strategy at Boat Rocker Studios, talks about the company’s evolving coproduction plans and offers a sneak peek at his new titles for Mipcom.

How has the scripted downturn in the US affected your content supply lines?

We’re fortunate to have a robust development slate of projects across all genres that remains strong. We’re developing numerous new, exciting, scripted projects with leading talent and creators, while consistently exploring coproduction opportunities in which we see real potential. Our content supply lines are incredibly active.

What is the global demand for premium sci-fi titles like Orphan Black: Echoes?

We’ve seen robust global demand for our premium sci-fi titles, including Orphan Black: Echoes and Beacon 23. Both series continue to sell well internationally, and the genre remains in-demand with global buyers.

How is your scripted coproduction strategy evolving?

We’ve expanded our development slate to multiple regions and are working with a variety of production partners as a result. Global coproduction has become a key component of our process, whether we are physically producing the project or acting as a studio. We’re fortunate to have the strength of a global studio, and having a broader remit for sourcing premium content has kept us focused on new opportunities in the market. Great examples of this strategy in action include our upcoming scripted coproductions Video Nasty and Mix Tape, both of which we’ll be sharing at Mipcom.

How is the market for premium documentaries changing?

The market is always evolving and the industry-wide reset has certainly impacted premium documentaries, as it has all genres. However, one thing that always remains consistent is that compelling stories with unique characters find an audience. We remain focused on the premium documentary space and see the value of owned IP in this genre.

What new shows in this area are you launching at Mipcom?

We’re pleased to be bringing War Game, our political docu-thriller that was recently selected as a Critic’s Pick by The New York Times and Certified Fresh by Rotten Tomatoes. In addition, Meeting Zelenskyy, which offers an extended and personal in-depth interview with Ukrainian president Volodymyr Zelenskyy with actor-filmmaker Liev Schreiber. Finally, our Cannes slate includes Leonard Cohen: If It Be Your Will, which offers a profound insight into the life and music of legendary musician Leonard Cohen. All of these projects feature exceptional stories and subjects that are sure to resonate with audiences around the globe.

What is your distribution strategy for FAST/AVoD?

Given our robust catalogue of IP, we’re absolutely exploring the growth of FAST channels and AVoD. We recently partnered with Go See TV on Trailblazer TV, a new FAST channel that launched on Freeview in the UK and are looking at other avenues to grow this area as well. However, we’re looking at this as not only another distribution revenue stream, but a source for determining audience demand of our IP. We’ve produced multiple long-running series with a strong fanbase, so this approach has been a key part of our content strategy to build spin-offs and subsequent series.

How is the growth of YouTube changing Boat Rocker’s plans in the kids TV space?

Overall, YouTube remains a key part of any launch strategy for our kids and family projects. The way viewers consume content is changing and building a loyal audience for our IP on YouTube is a key marketing pillar for our shows. It helps them grow from launch and makes them even more accessible. We also keep a close eye on talent and trends on YouTube to help further inform our development process. Also, we’re looking forward to announcing our new kids and family titles for Mipcom soon.

How has the economic downturn affected the global acquisitions market?

The industry continues to shift and consolidate. However, in Boat Rocker’s case we’re fortunate to have a strong development and production slate and remain focused on making targeted content investments. With 400 hours of content produced annually, and a distribution library totalling approximately 10,000 half-hours, we’re in a great position to succeed regardless of the economic climate.

What priorities and initiatives do you have for the rest of 2024 and beyond?

Our priority remains the development, production and distribution of premium, award-winning global content and franchises across all major genres via our Scripted, Unscripted and Kids & Family divisions. We continue to see opportunity in coproductions, premium documentaries and owned IP to further strengthen our global business, alongside our robust service production work. We’re looking forward to a productive Mipcom and strong finish to 2024.