{"id":5964,"date":"2026-08-26T08:05:50","date_gmt":"2026-08-26T08:05:50","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=5964"},"modified":"2026-08-26T08:05:50","modified_gmt":"2026-08-26T08:05:50","slug":"sky-u-k-s-meghan-lyvers-discusses-ip-original-content-mix-and-increasing-the-emotional-stakes","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=5964","title":{"rendered":"Sky U.K.\u2019s Meghan Lyvers Discusses IP, Original Content Mix and \u201cIncreasing the Emotional Stakes\u201d"},"content":{"rendered":"
\n<\/p>\n
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\n\tComcast\u2019s Sky recently showed its desire to grow via an acquisition, agreeing to acquire ITV\u2019s networks and streaming businesses in a $2.13 billion deal. But the company has also been growing its investment in original content in recent years to ensure it can regularly premiere attractive series and films for its subscribers in a competitive industry where streamers and traditional players constantly tout new and returning programming.<\/p>\n

Sky has been betting on series that it feels can break through in this environment. Case in point: the upcoming October premiere of legal drama War<\/em>, whose first of two seasons, ordered together with HBO, stars Sienna Miller and Dominic West. Or how about season 2 of Sweetpea<\/em>, the dark comedy starring Ella Purnell (Fallout<\/em>, Yellowjackets<\/em>) as a wallflower-turned-killer, which returns to Sky in November, before partner Starz airs it next year. Sky audiences have this year already been able to watch the likes of Possession,\u00a0<\/em>the limited inheritance mystery series led by\u00a0Gugu Mbatha-Raw\u00a0(Loki)<\/em>, and Prisoner<\/em>, the high-speed action series starring Izuka Hoyle, which has been renewed for a second season.<\/p>\n

Read more \u2018The Dog Stars\u2019 Review: Jacob Elordi and Margaret Qualley in Ridley Scott\u2019s Subdued but Pleasingly Soulful Dystopian Western<\/a><\/p>\n

\n\tPlus, early this year, Sky had success with the Rafe Spall-starring Under Salt Marsh<\/em> and it has unveiled an eight-episode \u201cbold and contemporary reimagining [that] brings\u00a0The Girl With the Dragon Tattoo<\/em>\u00a0into the present, grounded in the characters and investigative DNA of Stieg Larsson\u2019s Millennium<\/em> novels, with themes that carry heightened relevance\u00a0today.\u201d<\/p>\n

\n\tAll in all, Meghan Lyvers, managing director, scripted originals, Sky U.K., is clearly keeping busy.<\/p>\n

\n\tThe executive first joined Sky in late summer 2022 and relocated from Amsterdam to London, reporting to C\u00e9cile Frot-Coutaz, who is chief advertising and content officer at Sky and CEO of Sky Studios.\u00a0Her remit has since been expanded. Lyvers previously served as senior vp and head of\u00a0international\u00a0co-productions and development at CBS Studios after working as a producer at Management 360. She began her career at Robert De Niro and Jane Rosenthal\u2019s Tribeca Productions with such projects as\u00a0About a Boy<\/em>\u00a0and the\u00a0Meet the Parents<\/em>\u00a0franchise.<\/p>\n

\n\tOn Wednesday afternoon, Lyvers will be featured during a \u201cSpotlight on Sky\u201d session at the Edinburgh TV Festival, along with fellow commissioners Philip Edgar-Jones, executive director, unscripted originals, Sky U.K., and Sky managing director, programming Jamie Morris.<\/p>\n

\n\tAhead of her Edinburgh appearance, Lyvers talked to THR<\/em> about her team\u2019s original content strategy, why ambition and characters are key, Sky\u2019s film slate and how important, or not, franchises and star power are.<\/p>\n

\nHow do you approach your commissioning strategy for and what is key for content to get your and your team\u2019s attention?<\/strong><\/p>\n

\n\tOur North Star is the audience. We\u2019re a premium pay service, and the Sky audience has so many options. Between sport and the entertainment offering, we also acquire a lot of content still from the U.S. So if you think about the Sky audience, if you have that subscription, it\u2019s got to be exceptional when it comes to original programming. It has to be exceptional, complementary programming, whether that\u2019s unscripted or scripted. <\/p>\n

I look after the scripted group, for film and series for TV, and talking about it with our commissioning teams, [it\u2019s about] what\u2019s the most ambitious, most provocative, most character-driven story? <\/p>\n

Do you have targets for how many originals you premiere, or is it more about quality?<\/strong><\/p>\n

\n\tI\u2019ve worked in other places where you have more volume, and you have to do a lot of different things. But we get to be super-curated and think about what those stories are that are going to be really bold and provocative and really stay with the audience and impact them in a deeply emotional way. We don\u2019t make a huge amount of volume, although our investment is going up, which is fantastic because the business is like, \u201cHey, what you\u2019re doing is great. Let\u2019s keep building!\u201d <\/p>\n

So, we really do think about what are the most provocative and ambitious stories we can tell. <\/p>\n

\nHow do you think about the mix of big returnable shows and one-offs?<\/strong><\/p>\n

\n\tStrategically, in terms of how we program, we always make limited series. So, last year we did Lockerbie: A Search for Truth<\/em> with Colin Firth, which was incredible. We just launched a limited series this month called Possession<\/em> with Gugu Mbatha-Raw, which is amazing. It\u2019s a really provocative story [about the horrors of colonialism], and also thematically something that we thought we have to tell because it\u2019s still relevant, no one\u2019s doing this, and we can do it. Let\u2019s back ourselves. Let\u2019s do something that we think is going to create a very specific and important and relevant conversation. So, limiteds are always going to be something that we do as a big global story that captures a conversation and feels relevant to our audiences in the U.K.<\/p>\n

\n\tAnd then, of course, we really like to make a couple of big, massive, often IP-based, franchises. The Day of the Jackal<\/em> is a really great example. I\u2019ve just seen a couple of cuts of [season] 2, and it\u2019s going to be fantastic. We can\u2019t wait to bring that back next year. <\/p>\n

\n\tIn that tradition, we want to make more franchises, which is hard because it\u2019s like making studio films on steroids. It\u2019s really complicated. They take a ton of time to prep. They\u2019re massive stories. They have huge production value. The footprint of locations and shooting is massive. But we\u2019re making the next one, which is The Girl With the Dragon Tattoo<\/em>, and that\u2019s coming up in terms of the shoot, so we will be talking about it more. It\u2019s our next franchise series that we hope will run for more than one [season].<\/p>\n

\n\tIt\u2019s a wonderful, faithful way in which we pay respect to the IP and legacy of those books, which I devoured and loved. But it also takes the Swedish films and David Fincher\u2019s film and evolves the story for today. You\u2019d be surprised how much, thematically, it still resonates. So if you\u2019re a fan of the books, if you\u2019re a fan of the series, if you\u2019re a fan of the films, if you love what\u2019s inside of this, you have something new to explore. We have been asked to make one to two of those a year. So that\u2019s our next one that we\u2019re excited about. <\/p>\n

\nYou have also been championing British stories.<\/strong> What can you share about those?<\/strong>\n<\/p>\n

\n\tWe would like you to make more of these contemporary British stories about British characters in different genres. Under Salt Marsh<\/em> was our version of doing a really smart, very character-driven, emotional crime story. It had a propulsive murder mystery in it, but it felt so different \u2013 something that you couldn\u2019t get anywhere else. You wouldn\u2019t see that on a streamer. You wouldn\u2019t see it on a public broadcaster. And that\u2019s for us. Let\u2019s push ourselves to make that story as ambitious as possible, in the storytelling, but also in the execution, and make it feel completely authored. [Importantly,] those characters, at the end of the day, are relatable, and that\u2019s something where we have really listened to our audiences the last couple of years. So we\u2019re making more of those because viewers tell us that they want them, but they also perform extremely well. <\/p>\n

\n\tWe get the feedback from audiences that they enjoy the characters and the storytelling, and it\u2019s propulsive, and it looks gorgeous, but they also are saying that these stories connect with me as a viewer. So it is something for us to continue to build on. The [same goes for] Prisoner<\/em> and Sweetpea<\/em>, which does this in a very genre way. And our next one coming up is Charmer<\/em>, led by Anthony Boyle.<\/p>\n

\nSo, you have limited series and returning franchises \u2013 anything else worth highlighting for the original content mix?
<\/strong>
The last piece is that we\u2019ll make one provocative, bold, really edgy show that is completely character-driven. Last year, we made a show with Matt Smith and Clerkenwell Films called The Death of Bunny Munro<\/em>, based on the Nick Cave novel. I couldn\u2019t make that anywhere else. The fact that Sky lets us and our audience program those originals, and that they have been received so well, is a pleasure.<\/p>\n

\nYou mentioned the importance of authorship. Tell me a bit more about that, please. <\/strong><\/p>\n

Read more \u201820\/20\u2019 Sets Dolly Parton Special Tribute: Where to Watch Online<\/a><\/p>\n

\n\tClaire Oakley, who is a filmmaker, created, wrote and directed Under Salt Marsh<\/em>. She had a story she wanted to tell, and we were like: \u201cWe have to make this.\u201d And because Claire wanted to tell a story that was climate-adjacent, it does speak to a very specific community being impacted by this thing in a way that feels very organic. All the climate stories in this show are part of the desire to be authentic, but also speak to what our audiences are living through.<\/p>\n

\nSo, it\u2019s about finding stories that also really hook and engage audiences?<\/strong><\/p>\n

\n\tYeah, it\u2019s not just about making great shows with exceptional production value if they are lacking emotion. I started in film, where it\u2019s always been about the character and the point of view of that character. With TV, you need to make sure that the audience feels an emotional connection to those characters. We talked very openly about making sure that our shows continue to have wonderful execution that everyone in the industry and customers know from Sky, which means you\u2019re going to see something that looks epic and on par with rivals and the Hollywood studio systems. But what we also wanted to do was make sure we increase the emotional stakes, and so the audience feels a more a stronger personal connection to the characters and what those characters are going through. <\/p>\n

\n\tSo it\u2019s about big emotions. If we\u2019re not going to make a ton of shows, all of our shows have to really impact the audience. TV viewing is instinctual. There\u2019s a gut instinct that you can\u2019t deny. If you emotionally connect to something, you\u2019re going to watch it, and you\u2019re going to talk to your friends about it, and you\u2019re going to be passionate about it, and you\u2019re going to want a [season] 2 to come back. <\/p>\n

\nYou have been working with production companies and distribution partners, such as HBO and Starz, on<\/strong> originals. The upcoming <\/b>War<\/b><\/em> seems to be an<\/strong>example of how Sky works with different outside and inside partners. Sky gave the series a two-season order, with HBO\/HBO Max taking it for the U.S. and Australia, and <\/b>NBCUniversal, which Sky is a part of, distributing it internationally. How do you approach partnerships?<\/b>\n<\/p>\n

\n\tWe really like to work with a bunch of different partners. We\u2019re really proud that we can work with somebody like Carnival Films, which is in our bigger corporate family [of NBCUniversal], and they do incredible work \u2013\u00a0whether it\u2019s on Lockerbie<\/em> or Jackal<\/em>. But we are also working with Little Door Productions [in Cardiff], an incredible opportunity to support this small production company that\u2019s in Wales that has this incredible story to be told.<\/p>\n

\nDo you have any qualitative targets, a la how many originals you make, and do you target audience segments or so?<\/strong><\/p>\n

\n\tWhat I can say is that at Sky, we don\u2019t have an algorithm. So we still make human decisions, and ideas must pass our gut check of \u201cwould we watch this\u201d? We definitely need to make sure that our bigger tentpole shows that have huge investments, for example, The Day of the Jackal<\/em>, appeal to bigger audiences. So we do think about broadening those. But I think the fun part of making shows like Bunny Munro<\/em> or or even Possession<\/em> is that we get to make shows that are much more singular. And if they grow, it\u2019s because people love them and there\u2019s word of mouth and it creates zeitgeist.<\/p>\n

\nYou have shows with Sienna Miller and Dominic West, or Ella Purnell. How do you guys think about the need for star power? <\/strong>\n<\/p>\n

\n\tI\u2019ll say this: look, we don\u2019t have talent deals. Those shows have to be good enough on the page for an actor like Dominic or Sienna to say, \u201cI have to play this part. I\u2019m obsessed with this character. I love this script.\u201d It\u2019s the same way with Anthony Boyle with Charmer. He fell in love with the script. <\/p>\n

\n\tSo for us, it starts with the material, what\u2019s on the page, and no doubt, well-established actors help bring an audience to a show. But we have a lot of other means in which we can bring audiences into shows via the marketing campaigns and social. We make sure that the actor is right for the role and they have to love it.<\/p>\n

\nExisting IP is obviously also a way to get an audience\u2019s attention right away. You have mentioned Jackal<\/em> and Dragon Tattoo<\/em>. Anything you can add on that front?<\/strong><\/p>\n

\n\tNo doubt, when you talk to people all over the industry about this, it\u2019s really important to have a mix of stories. Original ideas still cut through. Under Salt Marsh<\/em> was 100 percent Claire Oakley\u2019s original idea. Prisoner<\/em> was an original idea. Possession<\/em> is an original idea. For us, it\u2019s continuing to find the right balance because our audiences really like to see a bit of both. So, we believe in the mix, and because we don\u2019t make a huge volume, it\u2019s really about getting that balance right.<\/p>\n

\nAny goals for Sky\u2019s original output and budget sizes ahead that you can mention?
<\/strong>
It\u2019s not formulaic. Our investment is going up. So, 2029 is going to be our biggest year in terms of overall investment in scripted originals for series, and then we talk about what is the right budget size for each particular show. That\u2019s where things differ between [comedy] Mr Bigstuff<\/em> and, say, [drama] Meantime<\/em>, which is coming up next year with James McAvoy, or Jackal<\/em>, because these stories all need something different. So, we take more of an approach of what\u2019s the right budget for the show, and look at the factors of how the budget gets split across the year.<\/p>\n

\nBefore I let you go, what can you tell us about Sky\u2019s original film strategy?<\/strong><\/p>\n

\n\tIt\u2019s a wonderful pleasure for me to look after the film group because we have had such an incredible run. If you think about Nuremberg<\/em>, [the star-studded character piece about the Nuremberg Trials] last year, for example, or Kate Winslet with Lee<\/em>, [in which she starred as the pioneering World War II photojournalist Elizabeth \u201cLee\u201d Miller]. We had [British crime thriller] Fuze<\/em> earlier this year and just launched Mutiny<\/em> with Jason Statham. <\/p>\n

\n\tFor us, on the film side, it\u2019s really important that we continue to support the British filmmaking community. For example, we\u2019re going to debut Animol<\/em>, which is Ashley Walter\u2019s directorial debut, later this year. Seeing an actor turn to directing or producing, it\u2019s just such a pleasure to be able to support them in their storytelling journeys.<\/p>\n

Read more Beyonc\u00e9 Remembers Dolly Parton as \u201cBold and Brilliant\u201d in Touching Tribute<\/a><\/p>\n<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In a Sky UK executive Meghan Lyvers interview, she explains original content strategy, IP, 'The Day of the Jackal,' 'The Girl With the Dragon Tattoo.<\/p>\n","protected":false},"author":1,"featured_media":5963,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3677,483,3678,2,539,1054,3679,98],"class_list":["post-5964","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-dominic-west","tag-edinburgh-tv-festival","tag-ella-purnell","tag-international","tag-sienna-miller","tag-sky","tag-sweetpea","tag-united-kingdom"],"yoast_head":"\nSky U.K.\u2019s Meghan Lyvers Discusses IP, Original Content Mix and \u201cIncreasing the Emotional Stakes\u201d - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=5964\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sky U.K.\u2019s Meghan Lyvers Discusses IP, Original Content Mix and \u201cIncreasing the Emotional Stakes\u201d - 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