What you need to know:

• The number of affected productions has now skyrocketed to 119, according to Screen Producers Australia
• The industry body says the reported budgetary figure on the line has now risen to almost $500m 
• Media buyers, however, claim this won't become the next US "writers' strike moment for Australia"
• Some argue the narrative around the future of TV production has been "overly negative", with many of the networks having content already 'in the can'
• Beyond COVID-19, buyers say networks will need to reprioritise their assets and get rid of unnecessary "vanity projects"
• Shows such as Survivor's second season for the year, SAS, Holey Moley and The Amazing Race have all been forced off-air due to international travel restrictions 
• Nine and Ten both say they are looking into alternative production methods, such as spin-off productions like Junior MasterChef. Seven declined to comment
• Content remains difficult to produce from an advertising and integration standpoint as creative agencies "play catch-up", says one producer

Not the next "writers' strike moment"

TV is in a "confusing state" caused by the current COVID-19 crisis, which is bringing record audiences back to screens but without the matching revenue. 

Now, as restrictions remain in place until an update from the government on May 11, concerns have been raised over the production of key TV tentpole reality programs.

It might be difficult to "find true love" in primetime, as The Bachelor Host Osher Günsberg says, because shows that have contestants and actors snogging, sharing a house or pairing up, break what will be ongoing social distancing rules.

Carat Chief Investment Officer Craig Cooper says while concerns are being raised throughout the industry on the future TV slate of all commercial networks, it is unlikely there will be prolonged damage to the TV industry.

Cooper says this is different from previous content production issues such as the 2007/08 Writers' Strike in the US.

"At this stage, we're not seeing too many indications that this will be an issue that severely damages the industry, provided that the projections around lighter restrictions stay the course," he says. "It's not going to be like the writers' strike over a decade ago. This is primarily due to our own efforts to ramp up locally produced content and rely less on US productions.

"The networks have been in constant conversation with agencies, been frank and upfront about those series that have been impacted and what plans are in place to replace them."

Nicola Lewis, GroupM's Chief investment officer also praised the networks for getting on the front foot, noting they have started work on continuing productions while adhering to social distancing rules.

She says this will become more apparent as each series go on. Programmers are also looking for ways they can expand on the success of shows already on air while leaning on international content to fill any gaps in a schedule.

"There are multiple streams of content strategy," Lewis says. "There is sports, reality, pure entertainment, pre-filmed drama and nostalgic content, which is doing well on BVOD platforms - you can't think about content strategies in just a purely linear fashion.

"Certain overseas production houses are also beginning to ramp up again because broadcast is being deemed an essential service. So it's happening around the globe, not just here, and when you take that into account, the hiatus is going to be relatively short, with more content becoming available."

Networks remain confident

A Nine spokesperson told Mi3 planning is in place for The Block and The Voice to be completed and for both shows to go to air this year.

It is also understood Lego Masters, Travel Guides and Australian Ninja Warrior have all completed filming, while the majority of The Voice and The Block are also ready to go.

The big impact of COVID-19 will be on the 2021 schedule, due to long lead time in planning for dramas and for shows that require travel and are shot internationally.

Daniel Monaghan, Network 10’s Head of Network Programming says the key to ensuring continuity of the production cycle is to be creative in the way 10 delivers its shows.

Dancing With The Stars’ final shows and the Australian Survivor: All Stars Reunion happened as the COVID-19 regulations were being put in place.

"We were able to Zoom in key talent on both productions, like judge Craig Revel-Horwood on Dancing With The Stars and runner up Sharn Coombes during the Australian Survivor: All Stars Reunion, so our audience could have the best shows possible," Monaghan says.

Alternative and new projects from 10 include a casting call for Junior MasterChef  - the success of this season's MasterChef has the network convinced Junior will be a welcome addition to its schedule.

"The TV production community has so far done a great job at being flexible and inventive at delivering quality product to Australians under immense pressure," Monaghan says. "As we come out of Covid-19, preparedness and agility will be key for everyone to make shows and maintain Australian product for our audience. 

Seven, which is now dealing with cancelled shows such as SAS and Holey Moley, alongside the need to fill two weeks of cancelled Olympics coverage, declined to comment.

Future plans and integration flexibility

Hyland Founder Virginia Hyland says this is an opportune time for the networks to experiment with different formats and types of content, as they have a captive audience who are seeking different experiences in viewing.

She says there is an opportunity to more heavily integrate online and linear TV viewers real-time behaviour to build deeper engagement with audiences.

"It’s a time where creativity can really pay dividends and set up the future of how networks connect with audiences," Hyland says. "Where we have partnerships and clients sponsoring shows, we have had open ongoing dialogue around on air dates, how much of the series has been shot. We are all understanding of the situation that the networks are in and supportive of our commitments to their shows.

"The creative agencies are facing the same dilemmas in getting brand advertising shot in time to run on alongside television programs. Marketers are experiencing the same challenges in producing quality communications."

One executive producer, who did not want to be named,  says the creative agency dilemma is the main concern for many production houses at the moment.

The ongoing challenges and delays from creative agencies is due to constant updates and modifications to messaging as changes to COVID restrictions and daily behaviour occur.

"It's hard to get a direction to even begin shooting something when an agency is having briefs adjusted on a weekly and sometimes daily basis," says the EP. "That's where we are finding it hardest to cope and we will for another month.

Carat's Cooper says the pressure can already be seen with tentpole shows - TV networks are still selling key integration slots, despite in many instances being halfway through production.

He says the most likely outcome is that the networks will begin to do more post-production integrations, similar to what might be seen in shows like Home and Away or Neighbours.

"Seven already does it now, like inserting a can of Coke into a scene," he says. "This will become a big part of the TV production process in the coming months given the likelihood that certain shows have lost sponsor deals due to some categories pulling all ad spend."

GroupM's Lewis says clients will see the broadcasters create more flexible opportunities around integration. Where typically they may have had to buy an integration for the entire season and plan for it months out, this may now be available for a shorter runs and lead times.

She says the networks might have also been very "prescriptive" over the amount that needed to be invested during that time.

"You'll start to see integration packages that are based on shorter lead times and potentially lower entry points that have a higher degree of creative development within them and might only run for a certain period of the program," Lewis says.

"It would be remiss of the industry to think that the world of integration right now is the same as it was three months ago. It will remain a significant part of the client and broadcaster conversation but it will certainly have more flexibility."