Cassie Yde: "We focus on quality over quantity"

In an industry where streaming platforms and shifting business models continue to reshape how content is financed and distributed, The Television Syndication Company remains a steadfast player in global content distribution. Señal News spoke with Cassie Yde, President of TSC, about her strategy for navigating today’s evolving marketplace, how she approaches content curation amid increasing competition, and the trends defining both the U.S. syndication market and international opportunities.

What were your main goals at Mipcom this year, and what new content or strategies are you bringing to the market?
"My primary goal is to find new content that keeps buyers engaged with our catalog. Everyone wants something fresh; they don’t always want to look back at older titles. However, with the rise of streaming, we’ve seen more openness to back-catalog content, which has helped us a lot. This year, I was overwhelmed by the amount of content offered by producers. For a while, production was difficult—especially for independent producers—because traditional broadcast license fees were disappearing while streaming took a larger share of the business. That made it harder for them to recover their investments. But now things seem to have stabilized, and production is picking up again. I’m very excited about several new projects, especially “It’s a Beautiful World”, produced in Canada. It follows Jeff Fuchs, an explorer who travels deep into remote areas like the Amazon to connect with local tribes and cultures. It’s not your typical travel show; it offers a rare, immersive perspective on the world. When I first watched it, I couldn’t stop—it’s that compelling."

You mentioned there’s a lot of new content being offered. Does that make it harder to curate your catalog and decide what to take on?
"I wouldn’t say it takes more time, but it does require being very selective. Since we don’t pay minimum guarantees, I only take on projects I truly believe I can sell. My goal is always to generate revenue for both the producers and for us. Building a massive catalog isn’t our priority; we focus on quality over quantity—finding the right content for the right buyers and markets."

How do you manage producers’ expectations, especially given how financing models have changed in recent years?
"That’s actually the hardest part of my business. I’m very direct and realistic when I speak with new producers about what’s possible. I prefer to underpromise and overdeliver. It’s better to set modest expectations and then exceed them, bringing in more revenue than anticipated. That applies not only to our international business but also to our domestic syndication operations in the U.S., where we currently have ten weekly shows airing on free-to-air stations. Managing expectations there means being clear about how many markets we can realistically reach. Every producer thinks their show is the best thing ever made, and part of my job is keeping them grounded—helping them understand the competitive landscape and what success really looks like today."

You launched several new titles in September. How did you perceive this particular market season?
"It was interesting because, unlike previous years, I had buyers reaching out before the market, asking for flyers and information about our new programs. That level of early engagement was unusual and encouraging. Once I arrived here, I definitely felt stronger demand compared to last year. There’s more appetite for content and more genuine interest in closing deals—though, of course, most deals are now finalized either before or after the market. The days of signing contracts on the spot at MIPCOM are long gone, simply because there’s so much content to evaluate."

How have changes in the U.S. syndication business affected your international strategy or content offering?
"Not much, actually. Most of our syndicated shows are very U.S.-focused, so they don’t usually travel internationally. For example, we have “Sports Stars of Tomorrow”, which profiles young athletes in high school moving toward college and professional sports, and “She’s in the Game”, a new show following female athletes. These are deeply rooted in American culture, so they don’t translate as easily to other markets."

Still, do the shifts you’re seeing in local syndication influence how you think about global markets?
"Not really—they’re very distinct ecosystems. Syndication in the U.S. is unique; it operates only within the U.S. market. Whenever I explain it to international colleagues—how we have 212 television markets and must clear each one individually—they’re always surprised. Most countries don’t have that kind of structure. It’s what makes U.S. syndication so challenging and so interesting at the same time."

Do you see any specific trends or opportunities emerging for independent distributors like TSC?
"Yes, I think buyers are more open to niche, authentic storytelling and factual entertainment that feels real and grounded. There’s still room for independent distributors who can offer curated, distinctive content instead of chasing volume. For us, it’s about maintaining strong relationships with both producers and buyers, staying nimble, and continuing to deliver great programming that resonates across markets."