Embracing chaos: Journeys thru the television multiverse with Rola Bauer and David W. Zucker
The Embracing Chaos: Journeys Through the Television Multiverse panel, part of the Business Content program at the Monte-Carlo TV Festival, brought together industry heavyweights to dissect the current state of television, the seismic shifts in production, and the challenges and opportunities facing creators today. Moderated by Deadline’s Stewart Clarke, the session featured David W. Zucker, Chief Creative Officer of Scott Free and Executive Producer of Dope Thief (Apple) and the upcoming Alien: Earth (FX), alongside Rola Bauer, international TV professional and Executive Producer for Amazon MGM Studios.
The discussion opened with reflections on the evolution of television production, particularly the shift from the era of "peak TV" to a more austere, recalibrating industry. Zucker highlighted the contrast between past and present, referencing Alien: Earth as an example of the kind of ambitious, cinematic-scale production that may become rarer in today’s climate. "This was obviously ordered and produced before the great consolidation and before things got very austere for the election… A lot of things have changed since we set off on this journey, but this is sort of representative of, I think, what the scale that TV [was] packing back to… and now we're sort of pulling back from." Shot in Thailand with an international cast, Alien: Earth exemplifies the kind of global storytelling that has become possible in recent years—though Zucker cautioned that such projects may now face greater hurdles.
Bauer and Zucker also discussed their upcoming collaboration, Pompeii, a project born from shared concerns about environmental crises. Bauer recounted how personal experiences—such as surviving a devastating earthquake in Marrakech—shaped the project’s urgency. "Mother Earth is truly, truly dying because of our lack of responsibility, sadly… And David recognized because of living in California, and the fact that there are certain specific places in the world that are going through that." The pair emphasized the importance of finding the right writer (Michael Hirst, known for Vikings and The Tudors) to capture the visceral, global resonance of the story. However, they acknowledged the challenges of financing such a project in today’s market. "Pompeii, at this juncture, we could estimate might be this kind of budget, but then once you get the material, when you start attracting certain talent in front of the screen or behind the screen, it can change again," Zucker commented.
The conversation then turned to whether the current turbulence in television is unprecedented or part of a recurring cycle. Zucker argued that the industry is undergoing "tectonic changes," driven by Wall Street’s influence and the streaming boom’s aftermath. "Through the Netflix era… many fantastic things have emerged… But what changed in my understanding in the last 10 or 15 years is the Wall Street invasion… They systematically got all of the other studios… to follow them like lemmings off the cliff."
Bauer echoed this sentiment, recalling how she and Zucker navigated past disruptions—such as the 2008 financial crisis—by pivoting and finding creative financing solutions, like the international co-production model used for The Pillars of the Earth. "We just were saying, all right, we're going to go against the wind… How do we do that? And then we started to talk about the editorial, the story, how those characters are going to resonate."
Clarke raised the question of whether co-productions—once a lifeline for ambitious projects—are becoming harder in an era of rising nationalism. Bauer acknowledged the challenges but argued that strong editorial partnerships can still make them viable. "If you are having the right editorially minded partners… then you will fulfill their need, because they need events… It's the combination of [creative auspices and IP], and then how does it tickle the cultural resonance in each of those countries?" Zucker pointed to South Korea as an emerging market where localized storytelling with global appeal presents new opportunities—a model reminiscent of Pillars of the Earth’s success.
A pressing concern was whether the industry’s current instability is leading to risk aversion, potentially alienating younger audiences. Zucker noted that while streamers initially disrupted traditional TV models, they are now circling back to franchise-driven, multi-season storytelling. "The streamers had no interest… to have shows live for two or three seasons. But that was the lifeblood of an audience's relationship with characters." He cited The Bear as an example of how efficient, well-crafted TV can still thrive—if streamers allow producers creative freedom rather than micromanaging budgets and locations.
The panel closed with thoughts on AI’s looming impact. Zucker described an industry in denial, with writers and executives apprehensive about its implications. "Most people in Hollywood have their head stuck in the sand right now… There is so much fear of it, and most people don't want to talk about it." Yet, he acknowledged AI’s inevitable role in democratizing content creation, comparing it to disruptions in music and publishing.
"The fear would be that the products we make will go the way of classical music… But I think the art form will still exist. It is going to derive itself in a very different way."
For emerging talent, Bauer and Zucker offered parting wisdom: Bauer: "If you have a belief in something, and you have a vision… Don't stop. Perseverance is the strongest, absolutely more powerful tool we have as humans." Zucker added: "Innovate… Where do we take this technology? And how do we create that next generation of storytelling?... We need to unify as communities again."
The panel underscored that while the television industry is undeniably in flux, creativity and adaptability remain its most vital assets. As the multiverse of TV continues to expand, those willing to embrace the chaos may yet find their path forward.
Bauer and Zucker also discussed their upcoming collaboration, Pompeii, a project born from shared concerns about environmental crises. Bauer recounted how personal experiences—such as surviving a devastating earthquake in Marrakech—shaped the project’s urgency. "Mother Earth is truly, truly dying because of our lack of responsibility, sadly… And David recognized because of living in California, and the fact that there are certain specific places in the world that are going through that." The pair emphasized the importance of finding the right writer (Michael Hirst, known for Vikings and The Tudors) to capture the visceral, global resonance of the story. However, they acknowledged the challenges of financing such a project in today’s market. "Pompeii, at this juncture, we could estimate might be this kind of budget, but then once you get the material, when you start attracting certain talent in front of the screen or behind the screen, it can change again," Zucker commented.
The conversation then turned to whether the current turbulence in television is unprecedented or part of a recurring cycle. Zucker argued that the industry is undergoing "tectonic changes," driven by Wall Street’s influence and the streaming boom’s aftermath. "Through the Netflix era… many fantastic things have emerged… But what changed in my understanding in the last 10 or 15 years is the Wall Street invasion… They systematically got all of the other studios… to follow them like lemmings off the cliff."
Bauer echoed this sentiment, recalling how she and Zucker navigated past disruptions—such as the 2008 financial crisis—by pivoting and finding creative financing solutions, like the international co-production model used for The Pillars of the Earth. "We just were saying, all right, we're going to go against the wind… How do we do that? And then we started to talk about the editorial, the story, how those characters are going to resonate."
Clarke raised the question of whether co-productions—once a lifeline for ambitious projects—are becoming harder in an era of rising nationalism. Bauer acknowledged the challenges but argued that strong editorial partnerships can still make them viable. "If you are having the right editorially minded partners… then you will fulfill their need, because they need events… It's the combination of [creative auspices and IP], and then how does it tickle the cultural resonance in each of those countries?" Zucker pointed to South Korea as an emerging market where localized storytelling with global appeal presents new opportunities—a model reminiscent of Pillars of the Earth’s success.
A pressing concern was whether the industry’s current instability is leading to risk aversion, potentially alienating younger audiences. Zucker noted that while streamers initially disrupted traditional TV models, they are now circling back to franchise-driven, multi-season storytelling. "The streamers had no interest… to have shows live for two or three seasons. But that was the lifeblood of an audience's relationship with characters." He cited The Bear as an example of how efficient, well-crafted TV can still thrive—if streamers allow producers creative freedom rather than micromanaging budgets and locations.
The panel closed with thoughts on AI’s looming impact. Zucker described an industry in denial, with writers and executives apprehensive about its implications. "Most people in Hollywood have their head stuck in the sand right now… There is so much fear of it, and most people don't want to talk about it." Yet, he acknowledged AI’s inevitable role in democratizing content creation, comparing it to disruptions in music and publishing.
"The fear would be that the products we make will go the way of classical music… But I think the art form will still exist. It is going to derive itself in a very different way."
For emerging talent, Bauer and Zucker offered parting wisdom: Bauer: "If you have a belief in something, and you have a vision… Don't stop. Perseverance is the strongest, absolutely more powerful tool we have as humans." Zucker added: "Innovate… Where do we take this technology? And how do we create that next generation of storytelling?... We need to unify as communities again."
The panel underscored that while the television industry is undeniably in flux, creativity and adaptability remain its most vital assets. As the multiverse of TV continues to expand, those willing to embrace the chaos may yet find their path forward.
