Rise Of The European Showrunner? Call To Rethink Production Models To Boost Euro Drama

EXCLUSIVE: Establishing the showrunner role is key to the future of European storytelling, according to new research seen by Deadline. The Internationale Filmschule Köln (ifs) has been running an EU-supported ‘European Showrunner Programme’ since 2022. The Cologne-based film school has now put the intel it has gathered over several years into a report about showrunning in Europe. “Showrunning is still not firmly established in Europe,” the report authors found. “There remains considerable uncertainty and a lack of understanding within the industry regarding the responsibilities and authority of a showrunner.” They added: “To move forward, we need to invest in education, encourage collaboration across disciplines, and build systems that allow showrunners to do their job well. That means rethinking how projects are funded, how roles are defined, and how broadcasters and platforms support creator-led production. The future of European storytelling could depend on how boldly we take this step.” Watch on Deadline Nadja Radojevic, Chief Executive Director of ifs and Director of the European Showrunner Programme, said: “The establishment of a clearly defined showrunner role is essential for European series to remain competitive in a global market saturated with content.” The ifs report sought to define what “showrunner” means in a European context. It noted the Euro showrunner is usually the writer and creator of a project, and working hand-in-glove with a producer across creative and financial matters. The report spelled out how the UK and Denmark have been in the vanguard of creating and employing the showrunner model, and how during the streamer-led production boom, the term “showrunner” took hold, although was sometimes misused, which has had lasting consequences. “The term sounds exciting...it was used by pretty much anyone who felt in charge of a series project,” the report stated. “Among them were plenty of genuine showrunners - writer-producers who actually carried creative and organizational responsibility - but also quite a few black sheep who gave the role a questionable reputation. That has made some broadcasters and production companies hesitant to embrace what is, at its core, a highly promising and innovative work structure and a profitable business model.” Unsurprisingly, the ifs-authored report strongly advocates for the showrunner model, claiming it reduces costs and “encourages creative ownership, speeds up decision making, and connects the dots between vision and execution - something traditional European production setups often struggle with.”

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