Exclusive: Delphine Ernotte Cunci has a unique view on the European television scene as both the president of the European Broadcasting Union and CEO of French Pubcaster Leader France Television.
The EBU is an alliance of European pub casters. He is responsible for rights negotiations for events, including the Olympics, Eurovision Song Contests, and lobbying on behalf of members with top European politicians. We also gather memberships to chew on everything from tech and AI to fundraising questions.
The deadline was Ernot Kunch’s diary, where I was able to spend some time for an exclusive interview. Before giving a keynote speech (wearing a French television hat) in Series Mania, she offered an honest take on European television. The EBU Chief took up everything from the power of streamers to the role of the EBU, to why one of its numbers, Ukraine is at war and independent media is the basis of democracy.
As a side note, EBU prefers the more modern “public service media” (PSM) language.
Deadline: How will the role of public service media change in times of crisis and uncertainty?
Ernotte Cunci: Our role is of paramount importance in times of crisis. The uncertainty is clearly there (at this time) and we don’t know what will happen tomorrow or the next day tomorrow. I think our mission is to stand by our community, our people. Today we have a strong connection with our audience.
For example, in France, every week, 80% of the population comes to see us on linear television and platforms. We are here for entertainment, we are here for news, we are here for everything in people’s daily life. This link is a major asset in these very challenging times. We need to stand by our people by providing independent, reliable news and conducting investigative journalism. We do that in France. We are the only ones with a great externally independent research team of all kinds.
Deadline: Does the pressure on public broadcasters seem to be greater than ever, whether it’s political, financial or a combination of both?
Ernotte Cunci: EBU has the CEO of Ukrainian public television. We know they need money for weapons, and even in the war country, Zelensky has not decided to cut the costs of public television. But you are right. In the East it concerns political pressure on the PSM. In our Western countries, it is more funding pressure.
Deadline: EBU’s top brass was in Brussels last week. Have you been able to convince politicians of the need for public service media?
Ernotte Cunci: We had the opportunity to meet some of the European Parliament committees and some of the members. One of my main messages was about supporting independent public media because independence is a condition of trust.
Independent public media is not only a matter of cultural sovereignty, but not a matter of soft power. No, it’s a national security issue. It’s a matter of power.
We know that Elon Musk is the one who decides half of the (agent) so we shouldn’t think of the media as a entertainment. No, communication in conflict is just as important as (actual) weapons.
Deadline: European public service broadcasters were often built on radio and linear television, but the world is moving forward. How can you maintain its relevance?
Ernotte Cunci: In France, the first “channel” is our platform. It is not linear.
The only way to maintain a link to everyone is to distribute your content across different channels and platforms. Of course we have a linear channel, and even today it is very important, but it decreases and honestly, the decline is very fast.
Deadline: In the world of connected televisions with unique widgets, apps and various digital program guides, public service media is infinitely confused about choices.
Ernotte Cunci: In businesses where all power and scale are in the US and Asia, regulations are the only way to balance that power. The European Union does its job and the rules are there. Is the problem today being applying rules?
Deadline: Are you worried about AI services built using PSM content?
Ernotte Cunci: AI is both an opportunity and a threat. First, you need to set the standard better. The first question is, do you want to supply AI (machine) without any reward for your work? The answer is no. Do we want to supply things that are not accurate and have no relation to the brand’s source at the end of AI? The answer is no. They want the right rewards and recognition of their brand. They ask to cite the source.
Deadline: While a huge amount of investment has been invested in European programming, funds are under pressure. Is the original European content facing a funding crisis?
Ernotte Cunci: I think the funding is great today, but I don’t know if the trend is good or not. Netflix and Disney don’t increase their investments as they need to look for profitability. The past few years have seen great growth and at the same time, the money invested in public media has declined, making it difficult for (commercially funded traditional) media. I don’t think the total amount invested in Europe through content will grow. But from my perspective, public media should not reduce their investment in content. Because that’s important. Content, technology and distribution will be three main words of the future if you want to maintain a very strong link to your community.
Deadline: Drama in particular has become so expensive that even the biggest broadcasters struggle to fund big projects. What is the answer?
Ernotte Cunci: There’s a way to deal with that. The first is to form an alliance between us in Europe, where French Television commissions such as ZDF (through the European Union Group) to do so with the ZDF and others (through the European Union Group). The second way is to agree with Netflix (and streamers). You can find an agreement with them and share your rewards. We don’t do the exact same job. There are many better ways that all people who invest in fiction can work together.
Deadline: Are international streamers collected to support and viable solutions for the production of local content?
Ernotte Cunci: If they invest in drama locally, I stand by it. In France, for example, they have a promise to invest, which is great. I don’t feel that Netflix and Disney are our main competitors. I think they are actors in a very competitive sector and have their own problems. There are many SVOD platforms now, and there may be some centralized constraints in the future. The profitability of these platforms is not that easy, so there is plenty of room for cooperation.
Of course, they are very strong and powerful, but not as powerful as another type of media, a social media platform.
Deadline: Let’s talk about social media. How can PSM accept social, while also oppose the threat it presents?
Ernotte Cunci: You must join YouTube. You need to be on Tiktok and on Instagram. There is no doubt about using and existing these social media platforms. But in reality, social media is also a way to distribute fake news and support foreigners and negative impacts, which is why we are actively promoting polarization in our society.
We don’t think we’re as dominant as 30 years ago, but we see a very high level of trust in public media. It’s very poor on social media.
Deadline: What are your hopes for the future of European public services media services?
Ernotte Cunci: My main concern is to remain a reference point for the future. The audience may decline overall, but if people have in mind, “Okay, I read this in X, and it on Insta, what is French Television saying about that event?” And they come and check with us, I think we are in the right place.
Deadline: Eurovision is a great example of the gathering of European public service media. Can you use that to grow this year in Basel, Switzerland?
Ernotte Cunci: Eurovision’s motto is “united by music,” and we need to unite. We are debating how we can grow our brand because it is huge and positive.
Basel’s 2025 venue is incredible. We have Martin Green, the new director of Eurovision, who adds a lot to what has been done over the past few years.
