Love Sucks Television Show
Industry executives, creatives, and international buyers gathered at the Berlinale Series Market, the serial content arm of the European Film Market, to preview upcoming high-end German series. Among the showcased projects was “Love Sucks,” an unconventional vampire love story blending elements of “Romeo and Juliet” and “Twilight.” The series explores the tale of two lovers torn apart by a dark secret.
ZDFneo, a German public broadcaster, brought “Love Sucks” to the event alongside another series, “Krank.” “Love Sucks” is the brainchild of “Dark” screenwriter Marc O. Seng and is directed by Andreas Prochaska (“The Dark Valley”) and Lea Becker (“Höllgrund”). ZDF Studios manages worldwide sales for the series.
“Love Sucks” creator O. Seng discussed the surprising partnership with ZDF, initially assuming the broadcaster would be creatively restrictive. However, ZDF’s genuine enthusiasm for the project proved otherwise.
Berlinale Series Market event banner
O. Seng elaborated on ZDF’s unexpected openness to pushing boundaries: “When we met with ZDF for the first time, we truly understood their love for the show. My idea of this gigantic German broadcaster was totally wrong. They took us to the limits of where we could go with violence, sexuality and the dark themes we touch with the show.” This sentiment echoes a broader shift in the European production landscape, with public broadcasters like ZDF challenging conventional expectations and embracing innovative content.
The Berlinale Series Market also addressed critical industry topics, including first rights on exhibition windows and the evolving dynamics between international streamers and national public broadcasters. Traditionally, securing co-productions with streamers was challenging. However, producers noted a recent shift, making streamer involvement more accessible.
The changing market landscape also impacted established partnerships. Producers observed the disappearance of some partners, like Paramount, and difficulties with Disney, necessitating early strategic decisions regarding distribution: pursuing global streamer deals or collaborating with a network of public broadcasters. Previously, broadcasters often resisted collaborations with major streamers.
Several participants emphasized the changing role of public broadcasters, highlighting ZDF’s willingness to push creative boundaries. This shift challenges the perception of public broadcasters as creatively conservative. “ZDF was the last place we imagined we’d have the show,” admitted O. Seng. This statement underscores the evolving perception of public broadcasters in the current media landscape.
