VRT opts for fiction without friction thanks to international New8 partnership

“Today, we’re at a tipping point: subscriptions to online video platforms are stagnating, and worldwide streamers are reviewing their strategy”, explains Wim Janssen, responsible for the range of programmes at VRT. This slows down the entire fiction sector. “VRT wants to keep producing fiction for our viewers, makers and partners, aiming to produce public added value. Therefore, we need to be able to predict financing and make choices. Only in this way are we able to support new talent and tell homegrown stories.” 

New8 is a unique cooperation in fiction, because each partner can decide which series to enter. “It’s brave for public broadcasters to take part in this”, says Wim. “Every proposed series needs to have international potential. But it can also tell a small, local story.” Both the input and the production process are continuously evaluated. “Even though the result is only visible some time after the cooperation, today we’re already looking at which empowering effects and exponential growth may result from it. Through European funding, the impact of local creativity can reach a lot further than Flanders.” 

Public broadcasters have their own identity, which also translates to what they offer. This is different for New8, Wim points out. “One of the aims was to provide intriguing and relaxing homegrown stories for the international market. When you look at the planned titles, you will see that the DNA of public broadcasters is similar. Even though the diversity is enormous. The eight series coming out in 2025, show the richness and relevance of public broadcasters. From a story about the much-feared big pharma industry (Elixir), over the evacuation of Afghanistan (Kabul), to fearless entrepreneurship (Vanguard). The more local you go, the more global you travel. Our own series, This is not a Murder Mystery by production house Panenka, translates our own cultural heritage for an international audience. 

Stories which open hearts and minds 

Every New8 series enriches what the participating partners have to offer. On the other hand, the cooperation delivers clear added value to fiction. NRK, the Norwegian public broadcaster, took the initiative to start New8. “As public broadcasters we all share the same mission and our own strength in a competitive media environment. In these times it is more important than ever to look beyond borders to offer new perspectives to our stories”, says Marianne Furevold-Boland, Head of Drama at NRK. 

This partnership for fiction is the biggest of its kind in Europe. “The media environment is constantly changing”, emphasises Marianne. “The audience is more selective and competition is constantly growing stronger. A community as New8 creates room to challenge each other and make series that stand out.” The basic ground for this is entertainment and commitment from the audience. “We want to create series which enable a conversation, and which are good for a society which is getting more and more polarised. Fiction offers us perspectives about ourselves as a society, consumer and human being. By joining forces, we create stories which open hearts and minds. Through New8, we can stimulate unity, innovate together and be a source of knowledge for each other. Whether this is about substantial dilemmas or new production technologies.” 

The trust shared by the participating broadcasters is at the core of this. “It’s essential to make sure we make fiction which enthrals viewers, engages them and creates a conversation”, says Marianne. “The benefit we create is not only economic, but also benefits society. The NRK fiction series mirror our Norwegian democracy. Stories that are based on values shared with our audience, but are also making a difference. Recognisable and stimulating. This attitude turns a local audience into a worldwide audience.” 

Reaching 135 million Europeans 

The programme which VRT is offering to the New8 cooperation in 2025 is a quirky fiction series, packing surrealism in a classic whodunit. “This Is Not a Murder Mystery was written by Christophe Dirickx and Paul Baeten”, says Kristoffel Mertens, who produced the series. “Matthias Lebeer and Christophe proposed this original idea during the pandemic. Recording fiction projects was closed down at that point, creating room for a creative project of this magnitude.” It was soon obvious that all stakeholders at production house Panenka were very triggered by the idea, yet at the same time shared the same financial worries. “We went to VRT pretty quick, because they still dare to experiment with fiction. A theme of art and culture, without turning it into a historic series, seemed a perfect match for the broadcaster. An accessible whodunit teaches you about surrealist characters, without the programme feeling ‘educational’. Shortly after, Hans Herbots boarded as main director and the project got on its way!” 

The topic appeals to a European audience, but it’s a Flemish production, fully controlled by Panenka. “Apart from locations in Ireland, the series is mostly shot at numerous impressive places in Flanders which fit the theme perfectly. This Is Not a Murder Mystery also accentuates the cultural heritage of surrealism - with Brussels as capital city - in a new way”, says Kristoffel. Authenticity remains the most important thing. “We present surrealists from all over the world and are therefore casting native actors.”  

As for partnerships, the public broadcaster was the perfect matchmaker. Kristoffel: “VRT is good at presenting stories by makers, and connecting the right partners for it. From an experienced and renowned author like Hans Herbots, to young talents such as Matthias Lebeer. We were able to count on the indispensable support of the Vlaams Audiovisueel Fonds, Screen Flanders and Screen Brussels.” For a project like This Is Not a Murder Mystery, New8 is worth its weight in gold. “Sometimes, working together is necessary to produce fiction. But in many cases, this means you have to partly give up your rights and creativity. Through New8, we nurture the series’ DNA, and still have guaranteed financing. By joining forces with other countries, we are better placed to receive European subsidies, thanks to Creative Europe and Eurimages. Now, we’re suddenly working on a series which can reach over 135 million Europeans. Built from the ground up by a Flemish creative team. This is promising for future projects and creative ideas which, literally, dare to push boundaries”, says Kristoffel.