The rise of streaming platforms has forever altered the television landscape, leaving traditional broadcasters grappling with a critical question: How can they compete in an increasingly crowded and expensive drama market? When House of Cards debuted on Netflix in 2013, it wasn't just a hit show; it was a seismic shift. This politically charged series proved that streaming platforms could produce prestige drama on par with, if not surpassing, traditional networks. But more importantly, it introduced the world to binge-watching, shattering the concept of scheduled viewing and forcing broadcasters to rethink their strategies and budgets.
Fast forward to today, where streaming services dominate. In Ireland alone, a staggering 74% of households subscribe to video streaming platforms. This begs the question: how can a public service broadcaster like RTÉ, with its mission to serve the public interest, compete for audiences with its original dramas?
And this is the part most people miss: It's not just about viewership numbers. As David Crean, Head of Drama at RTÉ, points out, "The streamers are trying to drive subscriptions and we're trying to connect with audiences and serve our audiences, so they are very different starting points."
RTÉ's latest offering, the six-part comedy-drama These Sacred Vows, exemplifies this approach. Crean emphasizes their unique selling point: "Our USP is to find the best of Irish writing, directing and talent and show it to our audiences." Collaboration, he explains, is key to funding these productions.
In 2025, RTÉ announced an ambitious slate of 142 hours of original drama across nine productions, both domestically and internationally. But bringing these stories to life is a complex puzzle. Here's where it gets controversial: While exact figures are closely guarded, industry estimates suggest an hour of TV drama can cost at least €1 million, with shorter-form series easily spiraling into the millions.
Long-form series, like soaps, remain a staple for broadcasters. They offer stable employment for local crews, attract loyal audiences, and operate on relatively smaller budgets – all crucial factors in today's fragmented media landscape. However, the journey from concept to screen is a marathon, not a sprint. It begins with a pitch, followed by securing interest and development funding from broadcasters or streamers.
Streamers, flush with cash, can fully finance projects with the original creative team, aiming for global appeal. Broadcasters, on the other hand, commission early scripts, marking the start of a collaborative process focused on domestic audiences. Dermot Horan, RTÉ Director of Acquisitions and Co-Productions, highlights the importance of early support: "We can release a relatively small amount of money – €30,000 to €50,000 – to commission a script and a deck, which is not exorbitant by drama standards."
This initial investment acts as a research and development phase. If the project progresses, the script becomes the first episode, and the cost is recouped from the production budget. But for broadcasters, development is just the beginning of a intricate production jigsaw reliant on industry relationships, funding expertise, and impeccable timing.
The pressure on indigenous TV industries is mounting. Rising production costs, higher salary expectations from casts and crews lured by international projects, and increasingly fragmented audiences all pose significant challenges. This was starkly illustrated last year when Wolf Hall director Peter Kosminsky revealed that he, star Mark Rylance, and others had to accept substantial pay cuts to secure a second series after no streamer agreed to co-fund the acclaimed BBC drama.
Rebecca O’Flanagan, Producer and Joint CEO of Treasure Entertainment, emphasizes the collaborative nature of modern drama production: "Bringing a project from page to screen is always a collaborative effort, creatively and financially. There are no hard and fast rules. The budget encompasses the broadcaster’s investment, the sales agent’s contribution (often around 30%), tax incentives, and co-funding partners."
She highlights the crucial role of Screen Ireland and the Coimisiún na Meán’s Sound & Vision fund in supporting Irish TV drama. Ireland’s Section 481 tax credit remains a vital component of the financing landscape, with payments reaching a record €177 million in 2025, a 46% increase from 2024. Both domestic productions and international series like Netflix’s Wednesday have benefited from this incentive after filming in Ireland.
In 2024, Screen Ireland provided nearly €4 million in loans for TV drama, while RTÉ invested almost €3 million in new drama commissions through its independent production unit. However, David Crean notes that this doesn't capture the full investment picture, as "not all our co-productions are commissioned through the IPU." Since 2020, Coimisiún na Meán’s Sound & Vision fund has invested nearly €20 million in TV and film drama projects.
Production companies also highlight the positive economic impact of their shows. For instance, RTÉ One's drama series Smother brought a large cast and crew to live and work in Lahinch, Co. Clare, during the off-season for filming three series.
The collaborative nature of modern drama production is evident in the end credits. Take Kin, a recent RTÉ drama that garnered critical acclaim and became a successful international export. The series was backed by a consortium including RTÉ, BRON Studios, Headline Pictures, Screen Ireland, the BAI Sound & Vision Fund, Nordic Entertainment Group, and Creative Wealth Media. AMC+ acquired rights in several territories, and the series later moved to Netflix in 2024 after its international airing.
For Treasure Entertainment, financing remains a complex jigsaw. Rebecca O’Flanagan explains how These Sacred Vows evolved: "It started with a simple concept – an Irish wedding abroad – where location was integral. Originally set in Spain, we discovered an attractive tax incentive in the Canary Islands offering 45% relief." The production was filmed in Tenerife, with post-production in Ireland, qualifying for both Section 481 and Canary Islands tax relief. The budget combined RTÉ funding, Screen Ireland, Banijay (media group), the Irish tax credit, and Canary Islands tax relief.
Another advantage of working with broadcasters, O’Flanagan points out, is IP ownership. "A streamer will fully finance a project and own it outright," she explains. "A broadcaster licenses it, allowing production companies to retain ownership. If the project succeeds, it can be sold internationally."
Public broadcasters, she argues, have a unique interest in stories that reflect cultural identity. "They offer creative freedom and the potential for a longer life beyond the initial broadcast."
Innovation is also key for broadcasters. RTÉ is experimenting with a hybrid release strategy for These Sacred Vows. The first episode will air on linear TV on Sunday night, followed immediately by the release of episode 2 exclusively on the RTÉ Player. This episode won't be available on linear TV until the following Sunday. "It's the first time we've done this," says Crean, "and it will be fascinating to see how audiences respond."
Talent development is another crucial aspect of the TV drama ecosystem for broadcasters. Virgin Media has found success with original dramas like Faithless and its Virgin Media Discovers initiative, run in partnership with Screen Ireland. This scheme nurtures emerging talent, with the most recent winning projects premiering at the 2026 Dublin International Film Festival.
TG4 continues to support new TV drama voices through its Céim Eile and Tús schemes, fostering Irish-language drama and supporting creatives at the early stages of their careers. Since 2009, RTÉ’s Storyland initiative, produced with Screen Ireland, has served as a launchpad for emerging Irish talent. Crean cites Storyland alumni like Mia Mullarkey, who directed a short film for Storyland and went on to direct two episodes of Hidden Assets, gaining an international directing credit.
Anthony Muldoon, Director of Strategic Policy at Screen Producers Ireland, emphasizes the importance of sustainable public funding: "TV drama is a cornerstone of European public service media. It's essential to ensure sufficient public funding for our public service media to invest in Irish stories that resonate both at home and internationally."
For Crean and Horan, long-standing industry relationships are the backbone of their productions. "The patchwork of alliances and how the finances are worked is a kind of secret sauce," Crean says. Horan adds, "We want companies to grow to a scale where they can employ new development executives and producers, generate strong ideas for us, and ultimately for other international partners as well."
The future of TV drama is undoubtedly complex, but one thing is clear: collaboration, innovation, and a commitment to storytelling will be essential for broadcasters to thrive in this evolving landscape. What do you think? Can traditional broadcasters compete with streaming giants? Share your thoughts in the comments below.
