At the NATPE gathering in Las Vegas, Disney’s international team drew attention by announcing several new and renewed agreements with overseas broadcasters.\n

The standout commercial achievement was a multiyear output renewal with France’s TF1 — a pact said to generate tens of millions of dollars annually for Disney. The contract secures first-run theatrical titles, the studio’s latest live-action series, television movies and miniseries for TF1.\n

Included in the package is programming tied to the opening of a new themed area at Disneyland Paris and an extension of Disney!, the children’s programming block on TF1. The deal was negotiated by Disney BVI TV senior VP Tom Toumazis and TF1 programming chief Guillaume de Verges.\n

Executives from other major studios’ international arms also reported steady dealmaking at the show, even as the market presents fresh challenges.\n

Universal International TV co-president Phil Schuman touted his company’s recent successes — from the remastered anniversary release of E.T. to Oscar contenders such as A Beautiful Mind — calling Universal “the studio of the moment.”\n

But behind the upbeat commentary, buyers and sellers alike admitted that weak advertising markets in parts of Europe and Latin America are forcing studios to rethink how they structure overseas deals.\n

Several international broadcasters are pushing back on price, citing shrunken ad revenues and limiting their ability to pay historical fees for U.S. programming. As a result, some transactions now include clauses that factor in the current ad slump and anticipate recovery.\n

Columbia TriStar International TV president Michael Grindon told Variety that pricing has become more polarized overseas: top-tier U.S. series can still command high per-episode rates — reportedly in the high six figures — while middling shows fetch far less or fail to sell at all.\n

Territory-specific problems are complicating the picture. Kirch Group’s failure to meet payment obligations has led to legal action from both Universal and Paramount over long-term output agreements, and Warner Bros. has been left scrambling after partner Kinowelt collapsed and stopped offering an outlet for its programming.\n

Germany — historically a major source of revenue for U.S. shows — is suddenly a tougher market to rely on. “If you don’t have a deal there, it’s hard to hit your annual targets,” an industry veteran commented.\n

Still, studios like Warner have strong negotiating chips: upcoming movie franchises such as Harry Potter and The Lord of the Rings remain attractive to international broadcasters and can help smooth the way in future licensing discussions.\n

European program sellers at NATPE left with mixed impressions: they were encouraged by business with U.S. cable operators but disappointed that many U.S. domestic broadcasters had pulled back from attending the market in force.

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