The TV production downturn is deepening across both the UK and US markets, impacting freelancers, studios, and the future of unscripted content
The global television industry remains in a state of flux as 2025 unfolds, grappling with a confluence of challenges that have led to a significant downturn in production. In the UK, independent production companies are facing unprecedented financial strain, with over 70% at risk of closure by mid-2025 due to a decline in TV commissions and escalating costs. This TV industry crisis is compounded by a substantial reduction in domestic high-end television commissions and a sharp decrease in international co-productions.
Across the Atlantic, Hollywood is contending with its own set of challenges. This is part of a broader global TV production downturn affecting every level of the industry. Major studios like Disney have announced layoffs affecting several hundred employees, citing the ongoing decline of traditional television viewership and the shift towards streaming platforms. Additionally, the aftermath of the 2023 Hollywood labor disputes continues to impact production schedules and budgets.
These developments underscore a broader transformation within the industry, where traditional models are being upended, and stakeholders must navigate a rapidly evolving media landscape.
The Substack by Patrick Caligiuri paints an emotional portrait of Hollywood’s side of the TV production downturn. Patrick is an award-winning television producer (The Amazing Race, Big Brother & Naked & Afraid.) I thought the Title “The Tinsel has Left the Town” was really evocative of the entire TV Production Turndown and its really is a great an emotional read.
Action For Freelancers in the TV Production Downturn
I attended one of the roundtable events hosted by Action For Freelancers, and it was an informative session. The lead team emphasized that the initiative doesn’t aim to be the voice of the entire freelance community; instead, it exists to give freelancers a seat at the table. All the working groups will include two freelancers, and this is our opportunity to help shape the future of the TV sector in terms of employment. Freelance jobs in television are becoming increasingly scarce and the stories of real hardship all too frequent.
One group—and yes, I am a member—has proposed a slightly more collaborative structure. As I mentioned in a previous post, all my comments come from the perspective of a critical friend who loves this industry and is passionate about the people who make it—freelancers included.
Historically, representation for freelancers has been patchy. We have BECTU and Directors UK, and while Equity and the NUJ serve their own areas, there’s no single body representing all creative workers who fall into the freelance category. Many countries, such as France, Australia, and South Korea, have more established systems. Australia, in particular, seems to have a well thought-out and respected framework.
The foremost organization representing freelance and contract workers in Australia’s TV and film sectors is the Media, Entertainment & Arts Alliance (MEAA). MEAA is a trade union and professional association covering journalists, actors, screen technicians, and other creative practitioners. Within MEAA’s Media Section, there is a dedicated National Freelance Committee that specifically represents the interests of freelance media workers (including those in TV/film). As of late 2023, freelancers made up about 1,200 of MEAA’s roughly 5,000 media members nationally.
MEAA is broadly well regarded among TV and film freelancers. Many freelance camera operators, editors, sound technicians, and writers rely on MEAA for advocacy on rates, standard contracts, and intellectual property rights. The union has established recommended hours and minimum payment guidelines, which are frequently cited by freelancers when negotiating with producers. Especially in the VFX and animation spheres—which have seen unionization drives under MEAA in recent years—MEAA’s collective bargaining has enhanced stability and bargaining power for freelancers.
Beyond MEAA, some crew guilds (e.g., the Australian Screen Editors Guild or the Australian Cinematographers Society) provide professional development, networking, and ethical-standard guidelines. However, for industrial representation, MEAA remains the principal body. Its longstanding presence (founded in 1992 through the merger of actors’, journalists’, and entertainment industry unions) and its affiliation with the Australian Council of Trade Unions give it significant credibility. Veteran freelancers often cite MEAA’s role in securing pay increases, enforcing anti-discrimination standards, and defending members in disputes as key reasons they hold MEAA in high esteem.
As I see it, Action For Freelancers faces several key challenges:
- The Name If the initiative is not actually a unified voice for freelancers, the name is, in my opinion, misleading.
- Working-Group Representation Each working group has a core membership, with two freelancers attending every meeting. It remains unclear (despite me asking) how these representatives will be chosen. It seems they will rotate, with the reasoning that if work commitments prevent someone from attending, there needs to be a mechanism so the groups remain representative.
- Perception of Independence At the moment, there is a degree of skepticism about the initiative’s independence. Its main funding partners are employers, and this—combined with the “invited” status of the freelancers—gives the impression that this is “Action for Freelancers under the terms of the employers.” It feels like we’re being invited to put suggestions in a suggestion box in the now-demolished studio tea bar on the South Bank. So far, it feels like the employers want to be seen listening, but they will choose what they hear. This is not what freelancers need at the moment.
The suggestion from the freelance community is a constructive look at how the organization could be much more equitable. It’s not about becoming a proxy union or taking over control of the process; it’s an honest desire to see the industry change to a more sustainable footing as we navigate the current changes.
This is an ongoing conversation. Whatever the outcome of the current discussions, there will be freelance representation—it’s now a question of how that journey proceeds.
News from The TV Sector
Channel 4’s ‘Virgin Island’ Returns Amidst Controversy
Channel 4 has greenlit a second season of its provocative reality series Virgin Island, despite receiving Ofcom complaints over its explicit content. The show, which features young adults exploring intimacy with guidance from sex therapists, became Channel 4’s most-streamed new format since 2023. Its bold approach to discussing sexual insecurities resonated with viewers, particularly in the 16-34 demographic. Casting for the upcoming season is already underway.
ITV Announces ‘SHARK! Celebrity Infested Waters’
ITV is set to launch SHARK! Celebrity Infested Waters, a reality show where British celebrities, including Sir Lenny Henry and Rachel Riley, confront their fears by diving with sharks in the Bahamas. Produced by Plimsoll Productions, known for natural history programming, the series aims to blend entertainment with marine conservation awareness. The show will air on ITV1, ITVX, STV, and STV Player. Its a rare success in the current landscape of an unscripted TV contraction.
Kristin Cavallari Returns with ‘Honestly Cavallari’
Kristin Cavallari makes her television comeback with Honestly Cavallari: The Headline Tour, premiering June 4 on E! and Bravo. The docuseries follows her “Let’s Be Honest” podcast tour, offering an intimate look into her life post-divorce. The show features candid moments and appearances by celebrity guests, aiming to present Cavallari’s most authentic project to date.
SO in the face of the TV production downturn there are new commissions, but theres also evidence of the “less for more” economy, the few commissions cannot sustain the number of freelancers in the business.
Brands are the New Broadcasters. TV Production Downturn heros?
So theres still much talk about brand funded commissioning to offset the TV format Slowdown. Ate brands a lifeboat from the TV production downturn. This is an area I am already immersed in with my work in SE Asia. But from Axel Faicco great friday espresso newsletter we learn..
• The Great Escapers is a new primetime series co-funded by the UK tour operator Jet2holidays. It will see stars from ITV shows take a jet-setting tour of some of Europe’s top holiday destinations. In each episode, three celebrities will compete to plan the best possible holiday experience for their fellow travellers, guided by a Jet2holidays customer service representative in their choice of activities.
you can subscribe to Axels’ Fridays Expresso using this link
From the AI Word of TV Production
In the World of AI Veo 3 has been making some noise. Googles video generating marvel. The clips are very impressive, its not fully rolled out into the wide world yet, and its not cheap or going to be cheap.
The house of Lords in the UK has an APPG (All Party Parliamentory Comistee) on the future of work in the UK and yesterday they held a session about the creative industries. Well Action for Freelancers were not in attendance! Actually I don’t think any one of the invited speakers were from Film or TV production, Equity were represented. Now, there is an argument that it is free and open to anyone, to attend or express an interest. I clearly missed the memo because i had no idea it was even a thing. But if you are interested and want the memos then here’s the link – APPG on the future of work futureworkappg.org.uk – one can only hope there’s another session for the creative industries. It is so important, the future of broadcasting is under threat and this aims to give creative industry support.
I think this points to a systemic problem in our democracy: the views expressed to Parliament come from a narrow representation of informed and engaged parties. Then when they decide on a plan of action and it all gets “launched,” the people it actually impacts go “WTAF.” On that note…
Encore Creators double your income
Digital success from the creator economy? Is this the life-line for the TV production Downturn? I have a goal to double my income, seems like a get rich quick scheme? Well the government says i can live on £230 a week, the state pension, so my target is to swell that by £230 so i have £460 a week. £23,920 a year and that’s over the annual minimum wage by £100, Hang on does that mean the government is asking pensioners to live on half the minimum wage, mic drop! If you fancy joining the creator economy, and double your income! Join the community of Encore Creators.
Jonathan Glazier
#AltMedia #ActionForFreelancers #Freelancers #TVIndustry #MediaNews #BrandFundedContent #VirginIsland #SHARKSeries #HonestlyCavallari #AIinMedia #FutureOfWork #CreativeIndustries #MEAA #BroadcastTrends
