Electric’s Sonia Mehandjiyska Talks Drama Distribution Trends

Cost-effective crime procedurals with built-in international appeal have proven to be a strong calling card for Electric Entertainment. The independent producer and distributor led by Dean Devlin has made a name for itself in the U.S. and globally with returning properties like Leverage and The Librarians. As the company marks its 25th year of operations, Sonia Mehandjiyska, head of international distribution at Electric, talks to TV Drama about trends in scripted today.

TV DRAMA: We’ve seen the numbers about the reduction in commissions at the global platforms. How are you approaching this contraction in new content production?
MEHANDJIYSKA: Unfortunately, yes, the commissions have declined, so we have to be creative and collaborative with our commissioning partners. We have to believe in our productions and be confident that our content will be successful and continue its run. Another way is to explore new platforms and distribution options, as opposed to the traditional television channels. Finally, more deals are necessary to get to a bottom line, which will allow us to continue producing.

TV DRAMA: What elements does a project need to cut through today, with commissioners and buyers?
MEHANDJIYSKA: As always, you need to have compelling and well-developed characters that will make the audience interested in and care for/about them. They don’t necessarily have to be “heroes,” but they need to be intriguing and constantly evolving throughout a series. Familiar names and faces are also very important and help decision-makers commit.

TV DRAMA: Are there any particular trends you’re seeing in terms of what’s in demand?
MEHANDJIYSKA: Foreign broadcasters are continuing to look for American crime procedurals.  It’s a formula we have perfected and have been very successful with, as illustrated by multiple franchises we originally created and produced, such as Leverage and The Librarians, as well as our series Almost Paradise. In addition, we have seen that, although a niche genre, sci-fi is an evergreen trend. Dean’s many credentials and track record alone attract buyers to our sci-fi series, such as The Outpost and our newest SYFY original, The Ark.

TV DRAMA: How do you see AI impacting the scripted business in the year ahead?
MEHANDJIYSKA: AI is a tool to be used to enhance projects; it can’t replace humans and creative minds. AI can only create based on past data. If humans are replaced with AI to create and generate content, eventually it will run out of unique and imaginative stories and ideas to tell. We also believe AI could assist the dubbing process and make original versions in different languages more accessible, and, hence, more content available to international audiences.

TV DRAMA: What have been the biggest shifts in financing models? How are you approaching pulling projects together?
MEHANDJIYSKA: The industry is in a challenging time and we are seeing that risk is much higher, leaving us having to rely on multiple sales and partners to compensate. That being said, we are lucky enough to have dedicated, long-term partners who believe strongly in our content.