French TV sales tumble 21%, UK revenue dips—producers scramble

The European television industry was shocked last week when data revealed a dramatic slide in sales and investment. France’s content exports collapsed to a ten‑year low, prompting the national CNC to hastily convene a symposium to examine the bleak outlook.

In the UK, production revenues reached a second‑highest total ever, yet broadcaster spend fell back to pre‑COVID levels, raising alarms about the sustainability of smaller producers.

France’s figures show international sales for 2025 slumped 21.6 % year‑on‑year to €164.2 million and co‑production investment down 18.7 % to €87.7 million. Pre‑sale revenues also fell apart, leaving studios with less capital to fund new projects or sell abroad.

Across the channel, television advertising revenue declined, further tightening budgets for both domestic and export markets.

While French numbers paint a grim picture, the UK’s Pact census highlighted a double‑edged reality. Production sector revenues hit £3.8 billion, the second‑highest total ever, yet broadcaster spend dipped to under £2 billion—a return to pre‑COVID levels.

International revenue and non‑TV assets offset the drop, but the trend underscores an increasing reliance on global streamers and pressures on independent producers.

## Background & Context

France’s cultural agency, CNC, is convening a symposium to unpack the decline in Gallic content sales. The data shows a 21.6 % year‑on‑year drop in international sales to €164.2 million and an 18.7 % fall in co‑production investment to €87.7 million.

Pre‑sale revenues have also weakened, signaling tighter budgets for French studios and less TV to sell abroad.

In the United Kingdom, Pact’s annual census revealed that production sector revenues reached £3.8 billion, the second‑highest figure recorded. However, broadcaster spend fell back to under £2 billion—pre‑COVID levels—while international revenue and non‑TV assets buoyed overall income.

The trend suggests an increasing reliance on global streaming platforms and places additional strain on smaller and mid‑sized independent producers, as noted by Pact CEO Nigel Warner.

Cinema box office figures offer a contrasting story. The International Union of Cinemas reported encouraging summer stats across Europe, the Middle East, and Africa. France and Italy posted record‑breaking summer figures, with Spain, the Netherlands, and the UK also reporting strong returns.

The UK Cinema Association released data showing more than 17 million admissions in the previous month, underscoring cinema’s resilience amid television downturns.

## What People Are Saying

The French CNC’s decision to hold a symposium reflects growing concern among industry stakeholders. “We need to understand why our content sales have collapsed to a ten‑year low,” the agency said, .

In Britain, Pact CEO Nigel Warner warned that the third consecutive year of falling network spend is “heaping pressure on smaller and mid‑sized independent producers.” The UK’s Channel 4 confirmed its biggest job cuts in history, while the BBC was described by Pact as possibly “sleepwalking towards managed decline.”

Meanwhile, social‑media chatter around the Venice Film Festival highlighted the festival’s strong line‑up. Artistic director Alberto Barbera named Martin McDonagh’s *Wild Horse Nine* as an early awards frontrunner and praised Lee Chang‑Dong’s *Possible Love* and Robert Pattinson’s *Primetime* as potential contenders.

In the audience, the documentary *NAZA* earned a record 25‑minute ovation, the longest for any film at a major festival. Alex Gibney’s *Elon Musk* doc sparked controversy when the billionaire reportedly called Gibney “a bitter old man.”

In royal circles, Buckingham Palace issued a statement declaring Prince Harry and Meghan Markle “no longer working members of the Royal Family.” The Sussexes responded with a media briefing that expressed surprise at the announcement. Palace officials claimed they had been made aware of the statement before it was released.

Harry has publicly accused his father and the establishment of failing to provide adequate security for his family, hinting that a reunion is unlikely.

## What Happens Next

The industry’s response will unfold over the coming weeks. The French CNC symposium aims to chart a path forward for Gallic content producers, while Pact’s findings will likely prompt discussions about sustaining independent studios in the UK.

In cinema, the International Union of Cinemas and the UK Cinema Association will continue tracking box‑office recoveries that could signal broader shifts in entertainment consumption.

Film festivals will keep momentum: Venice’s closing‑night awards are scheduled for tomorrow, with potential accolades for films like *Wild Horse Nine* and *NAZA*.

In Toronto, anticipation grows for the world premiere of Netflix’s *2.6 Seconds: Death in the Outback*, alongside reviews of other festival entries such as *Bunker* and *Elon Musk*.

Additionally, the upcoming Zurich Film Festival will award John Turturro its Golden Eye Award, while the Zurich Summit has announced speakers like Oscar winner Edward Berger and Constantin Film CEO Oliver Berben.

On streaming fronts, Netflix confirmed an *Inbetweeners* reunion movie featuring the original cast. Mercedes Ron’s *Drawn Together* premiered on Wednesday, and she will continue to develop her ten Wattpad titles into feature films under her Amazon MGM Studios deal.

Spain’s Mediapro plans to relaunch as Imagina on January 1, 2027, following a company review and reorganization.

These developments suggest a complex landscape where television faces headwinds, cinema remains robust, and streaming platforms continue to diversify content offerings. The coming months will reveal whether industry stakeholders can adapt to shifting revenue streams and audience preferences.